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The Writer 








(Copyright, 1895, by Wiluam H. Hills. All Rights Rbsbrvbd.] 


Adams, Oku Fay, on Holmei, i6i 

AdveniK, Shall Wriun, Wady, loi 

Aficcuilon Id Uienlun, aiiiAolm, 

AKregatiooi of Unlit, Day, 51 

AM™, K. M., Kighu of Authon, 19 

Amaleui frcn Astodilion, National, Johnian, iSj 

Applelon E. T„ Rejeclcd MSS., ii 

AidKClaveidcD, SlDCklan{r), lof 

Asiatic Biteits, Oplic ( i ), 171 

Al Bolh Enda of ttc Une. Halifax, ii; 

Authot, UnkDown, Ci»riai,Si 

Author'g CoDfeuion, Dinow lo, 44 

Cteditlo, i4i Melhodalij. ig/Crh'PaylT^iiy; Righli| 

Aulfaontd^, Plnl QuaMcalion, Whlu, i; 
Baby^s KiDedoni, Cox(r), 30 
Bacon's Cipner Story, Owco (r), jg, 01, 130 
Ballads, Old Kogluh. Gummeie (r), 139 



■n Holm' 

ILoveYon, Mack jr), 171, 

Bell, M. B.,Coinniiu9, Snap, and! 
Bcmon, Joel, on Holmo, 16s 
Beikihirc, Picluruque ( r ), iii 
Birthday, 44 

Book-covertas Noti-booka, Wtit, 14 
Book-publiibing, Bu>in«i Side of, •< 

Brother Againit Urolhi 


Irolher, Optic (r), 157 
Williami, Cardwill. B4 

Camp-fire MuBinn, Gray (r >, S9 
Cardwill, M. E., on A. W. Broiliertoo, 84 
Catalogue, A. L. A (r),s8 
CiIharTae Fine, Rulh^^(r). 14 
ChaiaMtrs in novels, 1061 Namei of. Hoke, 17 
ChaieofSt. Caitin, Calherwoad(r), 171 
Child. M, E., Short Sloiy, no 

i, Flnl Three Vearaof, Perei ( i), 7j 
' Lileraluie, Cole, 39 

fi., ASeculion In Lilenlure, . 

ichuyler, ris 
•nUfeoKr), 109 

(Chopin, Kat 

Eggiciton, Edward, on Holmei, 161 
English Literature, Oliphanl (r), 10 
Etdiing, Birth of the, Vincent, si 

Evangeline'! Coui 

"^ dran. Vr 1 1 

Expenmenul No' 

Fabie for Critic.. 

Lowell tr). >, 

Fair Wook of, Bancroft ( t), 4(. 7( 

, 111,116.189; Humoi 


Fawcell, Edgar, on Holmei. 166 

Fed Bad, ,06 

Ficlion, Herediti 

' of, 5heffey-Pe 

Simonda ( r). 
FWier, Sidney 6., 


, on Owen Wlalei 

■I 1 

Florid. Sketch Be 

«k,Torrey(r), , 

Flower of Forgive 

:ne.., SteeUr), 




Fooie and Hook, 

Bon-MoU of, Jertold { r ). m 

Foreip Phr^., 

.68, 169 

Fo«, Sam Waller 

, Poemi(r).i70 



Garland, HamUn, 

Gtrmao for Amei 

ican., MayirCr: 

1, Mi First Course, H 

Ghostt. 'Literary. 


Gib«n A. H "k 

GUman. N. P., or 

1 Molmei, 164 

Good Style, Holt 



D Holmei, iSy 

Gnu... A. Y„ Stoi 

lies. Why End H 

appily. 6 

Haire, k. C, LivinibT the Fen. ■ 


Hale, Edward Ev 

erett, on Holmes 


HaJe. A. M., on f 

Halifa,, Jean, At 


= Line, ,7 

Harraden, Bealrii 

:e, 78; Books (r 

). j8. 91 

Hawkiti., A, H.. 

n. Humors of the 


Heciick. Bertha F., Mental Dyipepsia. 114 

Hills, William H., Typewrllinz^S., «> 

Hilltop Summer, Keith (> J, 171 

His Vanished Star. Craddock (r),is7 


Hoke, H. M., Character Namesin Fiction, 177; Lin 

Holme., O. W.'.'feeath, 78 ; Jerrold ( r ), €7 ; TrUiuu 

168, rSj. 187 
Howard, F. M , Keeping Track of MSS., 17S 

1, Editorial, Dennis, SS 
lee Waler, Icecream, 11 

Correctness, Snap, and Succeti 
Coiring, E. K., Playwriling, 11 
Cox, R. C,IUu>tralioo,9S. 11 
Critic, Stein le, 148 

roline H., on Holmes, 16; 
Persia E., Author's Conies^ 

[gregations of Uniu. ti 

ichy C r 1 

Day, Beth. Aggregate 

Delectable Duchy (r 1,58 
Denison. Mary A.. Dialecl. s, ;); 

Dennis,")^.^., Ediio^l I, SB 
Denniion, W. G., Illustrator, Dsl 
Dialed, Oiisholm, 49; Denlaon, 
Diclatoia, School for, Rhys, i 
Dorr, Julia C.R.,(- "-'— ' 

mnscript Market, ij 
I and Publishers, jj 

Dygpep«a, Menial, Heirick, 114 

Ediiois, Ate Ther ID Blame? While, 41 : IitiMtsd. Kearney, 
IS and Pvbllilien, Denison. j{ 

Joumaliin'siiwiolo, S 
Katherine Lauderdale, Ci 
Kearney, K.,IrTluledE. 
Kellogg, E. L„ Uk of O 
King, Charles, on Holme 

Kmwn lo"'nkno»S,'Gi'l; 
Lamb and JeiToid, Bon-t 
Letters, P^ (or,, 69; 

Public, ¥tetclier(r}, 1. 



Literary Beginner's Experience, Loes, 34 
Literary Swindler's Confession, 152, 153 
Literature for Art's Sake, Hoke, 23 
Xittle Miss Faith, Le Baron (r), 157 
Living by the Pen, Haire, 182 
Xoes, J. M., Literary Bq^ner's Experience, 24 
Lourdes, Zola ( r), 171 

Lvon-Irons. A. L., contributions, 59, 60 
Jaabie, Hamilton W., on Holmes, 167 
Magazine Articles, Preserving, 123 
Magazine File, Wady, 140 
Magdalena, 72, 120 

Manning, J. W., Why Stories End Happily, 7 
Manuscripts, Five Hundred Places to Sell, Reeve (r), 121; 

Keepmg Track of, Howard, 178; Market for. Day, 132 ; 

Paper, Saving, 31 ; Placing, Shore, 150; Rejected, 12,17, 

10,29; Returning, 169; Rolled, 92 ; Sendmg to several 

points, II 
Marcella. Ward ( r ), 137 
Meaningless, Cult of the, Morgan, 99 
Merriman, Henry Seton, 80 
Miller, Joaquin, on Holmes, 183 
Mitchell, Donald G., on Holmes, 164 
Mollie Miller, Merriman (r), 172 
Morgan, Forrest, Cult of the Meaninc;less, 99 
Morley, M. M., Literary Ghosts, 71 
Mother, Will, and I, Coit ( r), 139 
Moulton, Louise Clundler, on Holmes, 183 
Mucilage, Isham, 158 

My Summer in a Mormon Village, Merriman ( r ), 157 
Names in Fiction, Hoke, '177 
Necrolognr^ 80, 96^ 112, 128, 144, 160, 176, 192 
Nervous Exhaustion, Beard ( r ), 171 
New York, King's Handbook (r ), 29 
Newspaper Annual ( r), 156 ; Directory (r), 107 
Newspaper English, Scott, 18; Edited, 107, 120, 135, 154, 156, 


Nom de Plume, 90 

None, with plural verb, 135 ; for no other, 187 

Note-book, Chatelaine, 46 

Note*heads for Authors, 46 

Novel, Crawford ( r ), 136; Zola ( r), 73 

-Oblieed to have asked, 90 

OttoTengui, Rodrigues, Coles, 97 

Our Village, Mitford ( r ), 59 

Page, Thomas Nelson, on Holmes, 183 

Palmer ,C. S., Early Drama, 51 

Paper, BigSheetof, 42 ; for MSS., Saving, 60, 73 

Parables, Three Literary, Wilkie, 50 

Paragraphs in MS., 43 

-Paris Note-book, Vandam ( r ), 109 

Paste, 122 

Pearl of India, Ballou ( r ), 171 

Peckj Samuel Mintum, on Holmes, 163 

Penals, Sharpening, 60 

Periodicals, Directory of ( r ), 12; Literary Articles in, 15, 31, 

Phonograph, 104 

Photographic Mosaics, Wilson ( r), 92 

Photography, Amateur, Adams (r), 45; Annual of (r), 44, 
189; in copying, 189; Cyclopaedic, Wilson (r), 139; In- 
doors and out. Black ( r ), 44 ; At Night, Duchodiois ( r ), 45 

Pigeon-hole Extension, 75 

Playwritin^, Cowing, iij. See also Drama. 

Pool, Mana Louise, Hale, 180 

Presswork, Kelley (r ), 188 

Princess of Thule, Black (r), 13 

Printing, Vest-pocket Manual (r), 188 

Prizes, 54. 62, 9?, 112, 126, 144, 160, 175, 176, 193 

Proctor, Edna Dean, on Holmes, 183 

Pseudonym, 4j 

Quotations, Dictionary, Wood ( r ), 90 ; Familiar, Bartlett ( r ), 90 

Rachel Stanwood, Morse ( r ), 13 

Reader, MS., Essentials, Webb, 20 

Reading, Hint on, no 

Rejection Slips, Cox, 71 

Reporting, Court, Tnome ( r ), 138 

Rhetoric, Foundations of. Hill ( r ), 56 

Rhetorical Poor, Plea for, Alden, 38 

Rhys, Meredith, School for Dictators, i 

Ricnard Escott, Cooper (r), 13 

Rilev, James Whitcomb, Armazindy ( r ), 170 

Rocne, James Jeffrey, on Holmes, 164 

Rolls, To remove enclosures from, 30 

Romance of a Schoolboy, Denison ( r ), 13 

Romantic Professions, James (x), 108 

Rotmd the Red Lamp, Doyle (r), 188 

Rouse, A.. Literary Scrap-book, 5 

Sabbath Homes, Adler ( r ), 30 

Sanborn, Frank B., on Holmes, 161 

Sarpi, Fra Paoli, Robertson ( r ), 137 

Scarboro, Jed, Huddle Your ideas, 9 

Schuler, H. A .Recent Words, 21 

Schuyler, W., Chopin, 115 

Scott, W., Newspaper English, 18 

Scrap-book, Literary, Rouse, 5 

Search for Andrew Field, Tomlinson (r ), 138 

Sheffey- Peters, M., Hereditv of Fiction, 147 

Shelley and Vegetarianism, west, 35 

Sherlock Holmes, Doyle ( r ), 108 

Ships That Pass in the Nisht, Harraden ( r ), 58 

Shore, Robert, Placing MSS., 150 

Siberian Exiles, Nieritz ( r ), 75 

Sidney, Margaret, on Holmes, 163 

Sirs, Only Seventeen, Townsend ( r ), 172 

Slav and Moslem, Brodhead ( r ), 156 

Smith, S. F., on Holmes, 163 

Soul from Pudge's Comer, O'Donnell ( r ), 13 

Stage, Studies. Matthews ( r ), 57 

Stanton, Frank L.^ on Holmes, 163 

Steinle, M. A., Cntic, 148 

Stories, Other, Johnston, 33 ; Why End Happily, 6 

Story of a Bad Boy, Aldrich ( r ), 188 

Story of Maigrddel, Meldrum (r), 158 

Story, Short, Child, 129 

Switzerland, McCracken (r), 130 

Synonyms, Bechtel ( r ), 75 ; Craob ( r ), 57 

Tablet Covers for MSS., 14, 59 

Telegraph Tolls, Saving, 14 

Tell Me, Ye WingM Winds, 155 

Tennyson, Brooke (r), 138 

Thompson, Francis, 79 

Three Boys on Electrical Boat, Trowbridge ( r ), 188 

Timely articles, 185 

Title, changing, 185 

To-morrow is, or will be, 72 

Torn pa^es mended, 76 

Translations, 55, 160 

Trilby, DuMaurier (r), 149, 171 

Trowbridge, J. T., on Holmes, 167 

True, E. C., on Trilby, 149 

Two Bites at a Cherry, Aldrich (r), 14 

Two-Legfged Wolf, Karazin ( r ), 157 

Typewriter Backing Sheet, 93 

Typewriter Letters and Signatures, 70 

Typewriting MSS., Rules for, Hills, 82 

Umbrella Mender, Harraden ( r ), 109 

U. S. History, Thomas ( r ), 170 

Vansant, W. M., Conversation in Novels, 9 

Vincent, W. D.. Birth of the Etching, 53 

Vocabulary, Enlarging, 15 

Wady, C. S., Magazine File, 140; Shall Writers Advertise, 106 

War of Independence, Fiske (r), 109 

Ward, Elizabeth Stuart Phelps, on Holmes, 183 

Warman, E. D., Illustration, 146 

Warner, Charles Dudley, on Holmes, 161 

We, editorial, 186 

Webb, E. S., MS. Reader, 20 

Wee Lucy-May (r), 172 

West, Kenyon, 32 ; Book-covers as note-books, 140 ; Shelley 

and Vegetarianism, 35 
Western, W. H., Filing Clippings, 145 
White, E. L., Authorship, 25 ; Are Edit 
White Crown, Ward (r), 157 
Widow, Leaves a, 134 
Wilcox, Ella Wheeler, on Holmes, 167 
WUkie, H. C, Three Literary Parables, 50 
Winter, William, Shakespeare's England, etc. (r), 12 
Wister, Owen, Fisher on, 130 
Wolff, J., Writer's Cramp, 65, 71 
Woman Suffrage, Jacobin r), 122 
Woodward, B. W., contribution, 28 
Words, Bryant List, 154; Recent, Schuler, 21; Wellesley 

List, 119 
Writer. New, Chance for, 132 
Writer's Correspondence, Isham, 151 
Writer's Cramp, Wolf, 65, 71 
Writer's Handbook ( r ), 107 
Writer's Signature, 155 
You-Uns, Jenwyl, 27 

Editors to Blame, 41 


The writer. 

Literary Beginner's Experience, Loes, 24 

Literary Swindler's Confession, 153, 153 

Literature for Art's Sake, Hoke, 23 

Xittle Miss Faith, Le Baron (r), 157 

Living by the Pen, Haire, i8a 

Loes, J. M., Literary Bi^nner's Experience, 24 

Lourdes, Zola ( r), 171 

Love in Idleness, Crawford ( r ), 170 

Lover's Lexicon, Greenwooo^ ( r ), 45 

Xvon-Irons. A. L., contributions, 59, 60 

Jaabie, Hamilton W., on Holmes, 167 

Magazine Articles, Preserving, 123 

Magazine File, Wady, 140 

Maigdalena, 72, 120 

Manning^, J. W., Why Stories End Happily, 7 

Manuscripts, Five Hundred Places to Sell, Reeve (r), 121; 
Keeping Track of, Howard, 178; Market for. Day, 132 ; 
Paper, Saving, 31 ; Placing, Shore, 150; Rejected, 12, 17, 
10,29; Returning, 169; Rolled, 92; Sending to several 
points, II 

-Marcella. Ward ( r ), 137 

Meaningless, Cult of the, Morgan, 99 

Merriman, Henry Seton, 80 

Miller, Joaquin, on Holmes, 183 

Mitchell, Donald G., on Holmes, 164 

Mollie Miller, Merriman (r), 172 

Morsan, Forrest, Cult of the Meaningless, 99 

Morley, M. M., Literary Ghosts, 71 

Mother, Will, and I, Coit ( r), 139 

Moulton, Louise Chandler, on Holmes, 183 

Mucilage, I sham, 158 

My Summer in a Mormon Village, Merriman ( r ), 157 

Names in Fiction, Hoke, 177 

Necrolog^r, 80, 96^ 112, 128, 144, 160, 176, 192 

Nervous Exhaustion, Beard (r), 171 

New York, King's Handbook (r ), 29 

Newspaper Annual ( r), 156 ; Directory (r), 107 

Newspaper English, Scott, 18; Edited, 107, 120, 135, i54> 156, 

Nom de Plume, go 

None, with plural verb, 135 ; for no other, 187 

Notebook, Chatelaine, 46 

Note*heads for Authors, 46 

Novel, Crawford (r), 136; Zola (r), 73 

-Oblieed to have asked, 90 

OttoTeneui, Rodrigues, Coles, 97 

• Our Village, Mitford ( r ), 59 

Page, Thomas Nelson, on Holmes, 183 

Palmer, C. S., Early Drama, 51 

Paper. BigSheetof, 42 ; for MSS., Saving, 60, 73 

Parables, Three Literary, Wilkie, 50 

Paragraphs in MS., 43 

Paris Note-book, Vandam ( r ), 109 

Paste, 122 

Pearl of India, Ballon ( r ), 171 

Peckj Samuel Mintum, on Holmes, 163 

Penals, Sharpening, 60 

Periodicals, Directory of (r), 12 ; Literary Articles in, 15, 31, 

Phonograph, 104 

Photographic Mosaics, Wilson (r). 92 

Photography, Amateur, Adams (r), 45; Annual of (r), 44, 
i^; in copying, 189 ; Cyclopaedic, Wilson (r), 139; In- 
doors and out, Black ( r ), 44 ; At Night, Ducho<^is ( r ), 45 

Pigeon-hole Extension, 75 

Play writing, Cowing, 1 tx. See also Drama. 

Pool, Mana Louise. Hale, 180 

Presswork, Kelley ( r ), 188 

Princess of Thule, Black (r), 13 

Printing, Vest-pocket Manusil ( r), 188 

Prizes, 54. 6a, 9?, 112, 126, 144, i6o, 175, 176, 19a 

Proctor, Edna Dean, on Holmes, 183 

Pseudonym, 4j 

Quotations, Dictionary, Wood ( r ), 90 ; Familiar, Bartlett ( r ), 90 

Rachel Stanwood, Morse (t). 13 

Reader, MS., Essentials, Webb, 20 

Reading, Hint on, no 

Rejection Slips, Cox. 71 

Reporting. Court, Thome ( r ), 138 

Rhetoric, Foundations of. Hill ( r ), 56 

Rhetorical Poor, Plea for, Alden, 38 

Rhys, Meredith, School for Dictators, i 

Richard Escott, Cooper (r), 13 

Rilev, James Whitcemb, Armazindy ( r ), 170 

Rocne, James Jeffrey, on Holmes, 164 

Rolls, To remove enclosures from, 30 

Romance of a Schoolboy, Denison ( r ), 13 

Romantic Professions, James (r). 108 

Round the Red Lamp, Doyle (r;, 188 

Rouse, A., Literary Scrap-book, 5 

Sabbath Homes, Adler ( r ), 30 

Sanborn, Frank B., on Holmes, 161 

Sarpi, Fra Paoli, Robertson ( r ), 137 

Scarboro, Jed, Huddle Your Ideau, 9 

Schuler, H. A .Recent Words, 21 

Schuyler, W., Chopin, 115 

Scott, W., Newspaper English, 18 

Scrap-book, Literai^j Rouse, 5 

Seaux;h for Andrew Field, Tomlinson ( r ), 138 

Sheffey-Petert, M., Hereditv of Fiction, 147 

Shelley and Vegetarianism, West, 35 

Sherlock Holmes, Doyle ( r ), 108 

Ships That Pass in the Nisht, Harraden ( r ), 58 

Shore, Robert, Placing MSS., 150 

Siberian Exiles, Nieritz ( r ), 75 

Sidney, Margaret, on Holmes, 163 

Sirs, Only Seventeen, Townsend (r), 172 

Slav and Moslem, Brodhead ( r ), 156 

Smith, S. F., on Holmes, 163 

Soul from Pudge's Comer, O'Donnell (r), 13 

Stage, Studies. Matthews ( r ), 57 

Stanton, Frank L.. on Holmes, 163 

Steinle, M. A., Critic, 148 

Stories, Other, Johnston, 33 ; Why End Happily, 6 

Story of a Bad Boy, Aldrich ( r ), 188 

Story of Maigrddel, Meldmm (r), 158 

Story, Short, Child, 129 

Switzerland, McCracken ( r ), 130 

Synonyms, Bechtel ( r ), 75 *, Craob ( r ), 57 

Tablet Covers for MSS., 14, 59 

Telegraph Tolls, Saving, 14 

Tell Me, Ye WingM Winds, 155 

Tennyson, Brooke (r), 138 

Thompson, Francis, 79 

Three Boys on Electrical Boat, Trowbridge ( r ), 188 

Timely articles, 185 

Title, changing, 18^ 

To-morrow is, or will be, 72 

Torn pa^es mended, 76 

Translations, 55, 160 

Trilby, DuMaurier (r), 149, 171 

Trowbridge, J. T., on Holmes, 167 

Troe, E. C, on Trilby, 149 

Two Bites at a Cherry, Aldrich (r), 14 

Two-Legged Wolf, iGrazin ( r ), 157 

Typewriter Backing Sheet, 93 

Typewriter Letters and Signatures, 70 

Typewriting MSS., Rules for. Hills, 82 

Umbrella Mender, Harraden (r), 109 

U. S. History, Thomas ( r ), 170 

Vansant, W. M., Conversation in Novels, 9 

Vincent, W. D.. Birth of the Etching, 53 

Vocabulary, Enlarging, 15 

Wady, C. S., Magazine File, 140; Shall Writers Advertise, 106 

War of Independence, Fiske (r), 109 

Ward, Elizabeth Stuart Phelps, on Holmes, 183 

Warman, E. D., Illustration, 146 

Warner, Charles Dudley, on Holmes, 161 

We, editorial, 186 

Webb, E. S.. MS. Reader, 20 

Wee Lucy-May (r), 172 

West, Kenyon, 32 ; Book-covers as note-books, 140 ; Shelley 

and Vegetarianism, 35 
Western, W. H., Filing Clippings, 145 
White, E. L., Authorship, 25 ; Are Editors to Blame, 41 
White Crown, Ward (r), 157 
Widow, Leaves a, 134 
Wilcox, Ella Wheeler, on Holmes, 167 
WUkie, H. C, Three Literary Parables, 50 
Winter, William, Shakespeare's England, etc. (r), 12 
Wister, Owen, F'isher on, 130 
Wolff, J.. Writer's Cramp, 65, 7« 
Woman Suffrage. Jacobi(r), 122 
Woodward, B. W.. contribution, 28 
Words, Bryant List, 154; Recent, Schuler, 21; Wellesley 

List, 119 
Writer. New, Chance for, 132 
Writer's Correspondence, Isham, 151 
Writer's Cramp, Wolf, 65, 71 
Writer's Handbook ( r ), 107 
Writer's Signature, 155 
You-Uns, Jenwyl, 27 




Vol. VIL 


No. I. 

Entered at the Boston Post-office as second-class mail matter, stenographers are given a thorough training in 

■ ~~ commercial dictation. All the instnictors are 

CONTENTS: fagb . j mi • 'ji ^ ^i. 

expert amanuenses, and will rigidly correct the 

A School for Dictators. Meredith Rhys i ^ r*.j * 

o TA jur A T^ ' . errors of students. 

Saturated with Dialkct. Mary A. Denuon. ... 2 

Thb Homk of Mrs. Mary A. Dbnison. Margaret "In practising dictation no pupil will be 

Sullivan Burke 3 allowed to speak in a whisper. All words must 

Affkctatiom IK Literature ivmiam B. Chishoim. 4 ^e spoken loud enough to be heard three feet 

A Literary Scrap-book. AdelauU Rouse 5 '^ . ** 

Why Must All Stories End Happily ? away, Since few Stenographers are smart enough 

L— They Do. Alice YaUs Grant 6 to take down what they do not hear. On the 

n. -They Don't. Jessie iviison Manning. • • 7 other hand, the habit of bawHng is discouraged. 

°'l^^udng'conveniation,' 8- Complete Set. of The To dictate in a loud, didactic Style may impress 

' Writer, 8— Order in the Sanctum, 9 — The Thirteen a Casual visitor with yOUr importance, but, aS a 

Superstition in Uterature 9 rule, dictating to the gallery is held to be bad 

Huddle Your Ideas. Jed Scarboro 9 ^ ^ 


How Novelists Introduce Conversation. IVilbur M. i.«wwv.. 

Vansant, 9 " Smoking is allowed while dictating, but the 

An Author's Confession. Persis E. Darrow. ... 10 cigar must be removed from the lips when the 

?HrSAF Basket." .' WW '. \ n dictator is actually speaking. 

Book Reviews la " Special attention is given to correcting the 

Helpful Hints and Suggestions. 14 er-er habit in dictators. No dictator will be 

Tablet Covers for Man«.cripi.,i4-A Literary Incubator, graduated from this SChool who USeS €r morC 

14 —' Learning to Illustrate, 14 — Savmg Telegraph " 

tolls, 14 — Enlarging One's Vocabulary 15 than oncc in every five words. It is expected 

Literary Articles in Periodicals 15 that SOme will do better than this. 

News and Notes 16 u S^ttd in dictation is carefully cultivated, 

A SCHOOL FOR DICTATORS. ^^"^ ^'1^'^:^ ^^^f""^ ^''\}^^'' T^^'V", 

words a minute will receive the certificate of 

Why won't some one start a school for die- the school. The more speed, the less haste is 

tators — not political dictators, of course, but necessary to get through with a large mail ; and 

the commercial article ; the men who employ the danger of putting the stenographer to sleep 

stenographers ? by too-slow dictation is a point that should not 

Such a school would fill a real, long-felt want, be overlooked, 
and there might then be less contrast between ** For practice, actual business letters are 

the confused, disjointed production that many a griven to pupils to answer. It is expected that 

capable stenographer " takes down " and the these letters shall be read before answers to 

smooth, correct business document that he "tran- them are dictated. The habit of dictating a 

scribes " from his notes. The idea is hereby reply to a letter while reading it is discouraged, 

presented to any business college in the country as not being conducive to a polished style and 

that will adopt it, and a few hints for the pro- a methodical arrangement of the matter, 
spectus are thrown in, as follows : — " Courses in elementary grammar and the 

" At this school persons intending to employ rudiments of the English language are given, 

Copyright, 1894, by Wiluam H. Hills. All ri|^U reserved. 

The Writer. 

and all the pupils are expected to acquire 
enough of these branches so that they will use 
a verb in the plural with a plural subject, and 
vice versa. 

** Special attention and individual instruction 
giyen to pupils who show a tendency to confuse 
* shall ' and • will.' " 

Washington, D. C Meredith Rhys, 


*' Will you uns please pass roe the bread?" 

I looked up in unfeigned astonishment. Was 
that Aunt Martha De Land, with her cororoand 
of classical English, her dignity, and gravity — 
was it really possible ? 

" For pity's sake. Aunt Martha ! " I broke out, 
** what does it mean ? " 

*'It simply means pass the bread," was the 
smiling rejoinder. " Why, what did I say that 
you look so horrified 1 " 

" What I have not heard for over thirty years, 
and that when I was on Uncle Jasper's planta- 
tion down in Louisiana," I made reply. 

** That was befoh de wah," said my classical 

I looked at her half stupidly, I was so much 

'' My dear, you must not mind it" she went 
on to say. *' I have been reading dialect stories. 
You know it should be, and doubtless is, the 
aim of our first-class magazines to teach their 
great world of readers the best enunciation 
(excuse the size of the word) of the English 
language, but I am steeped in slang from my 
brain to my finger-tips, perhaps I should say 
in dialect, only it is so hard to choose between 
them, I mean the dialects. One gets confused 
between Tennessee, Louisiana, and Texas, they 
are all so different, you know. 

•' One of our best, perhaps in some respects 
§ke best, magazines has in its last number no 
less than three dialect stories, and good ones, 
too. Well, it's all right, of course. I do like to 
puzzle them out, though sometimes I long in the 
narration for the sweet, simple English of Irv- 
ing, the straightforward, robust style of Scott. 
Let me see if 1 can remember a sentence in one 

of the stories that haunts me. O, yes ; it was 
written in a description of the search of a young 
girl through a deserted house. Here it is : — 

"'Suddenly it [the gloom] was penetrated 
by a milky white glimmer, a glimmer duplicated 
at equidistant points, each fsuling as its succes- 
sor sprang into brilliance.' 

** And here is another : — 

*' * She shielded the feeble flicker with her 
hand, her white-hooded head gleamed as with 
an aureole as the divergent ra3r8 rested on the 
opaque mists.' 

** There ! there's grandeur of description and 
illustration for you ! 

* Well, my son, you are late," my critical aunt 
went on, as a stalwart young roan entered. 

*'Yas, mother. I b'lieve I'mfeelin' poly this 
mornin'," he made answer. 

** What, George ! you've been reading dialect 
stories, too ! " she said, laughing. 

He opened his bright eyes wider. 

* How in the world did you know?" he 

** By your dialect, my son, which is purely 
Tennesseean," she answered. 

" Well, you're right. I sat up till twelve read- 
ing one of those dialect yams. I like 'em, too, 
only it's a dismal fact that I feel like letting go 
all the niceties of grammar and rhetoric for a 
week afterward. How utterly refreshing it 
must be to get out of the common routine, and 
say *naw' for no, and *gyard ' for good, and 
* critter ' for creature, and • gell ' for girl, or 
*giurl,' and *hyar* for here, and to call things 
just as they suggest themselves to the untrained 
mind ! What a delightfully lazy existence — 
phonetically speaking — those fellows must 

The Writer. 

9iave ! There's lots of alliteration, too. Do 
you remember in one story the * tiny, tawney, 
tinted owl,' the 'stare of stolid surprise,' and 
^the cry that set the silence to shuddering'? 
All in two short sentences, and plenty more in 
the long ones. It shows that the writer studies 
ior effects ; if not, what is she writing for, I 
:should like to know ? 

"Hyar, M'ria!" he called to the wide-eyed 

maid, " a cup of cawfy 'n' a small sample o' that 
salmon settin' on the salva, shinin' so " 

"Silly boy!" exclaimed his mother, as the 
laugh went 'round, and he came to a stop for 
want of a final word. 

"I know it; but remember, my dearest 
* maw,' I am saturated with dialect" 

Afary A, Denison, 

Washington, D. C. 


Mrs. Denison, the author of " That Husband 
of Mine," is a woman of multi-genius and many 
attractions. She is a sweet, gentle woman of 
middle age, with a face glorified into positive 
beauty by its expresion alone, although it is far 
from lacking the natural elements of beauty, 
with the softest complexion, and a fluffy cloud 
of natural curls, very lightly sprinkled with gray. 
In mental gifts she is even above the average. 
She is not only one of our best novelists, hav- 
ing written more stories than twice the years of 
lier life, — stories always pure and exalted in 
tone, books that can be introduced at the fire- 
side, — but she is, also, the author of some of 
the leading juvenile work. She was the " back- 
bone " at one time of the Youth's Companion^ 
having done more, perhaps, than any other of 
its many brilliant contributors to build it up 
•during its early struggles, so that to the public 
her name became synonymous with that of the 
paper, in fact. 

Mrs. Denison is an artist, also, of no mean 
ability, though she has little 'time to devote to 
artistic work. She is musical, too, and varies 
her story writing with songs, both written and 
•composed by herself. She is a practical musi- 
cian, also, knowing the violin as well as the 
piano; and as her younger sister, Mrs. Lizzie 
Eaton, plays on almost every instrument extant, 
an evening visit to the sisters is like attending a 

In fact, Mrs. Denison belongs to a talented 
family, all through ; with five stalwart brothers, 
besides the little music-loving sister, every one 
of them full of talent in some shape. 

Dr. Charles Andrews, of St. Paul, Minn., the 
rector of the largest and most cultivated congre- 
gation of that progressive Western city, is one 
of the finest theologians and orators in the pul- 
pit; and another brother, James, Andrews, of 
Baltimore, is also a natural orator, though, 
being a business man, his gift for public 
speaking has been unused, except on rare 

Two brothers are artists. Dr. Robert 
Andrews, of Cambridge, who is also a scientific 
scholar and lecturer ; and Joseph Andrews, of 
Newton, Mass., who makes the most clever pen- 
and-ink sketches, with the touch of the fairies 
in his fingers, as well as the strength of man- 
hood, though he is not an artist by profession, 
finding other work more remunerative. 

This vein of talent in literature, music, and 
art seems to be carried through the following 
generation, also. Miss Angie Andrews,- of 
Cambridge, although still in her 'teens, is 
already a contributor to St. Nicholas; and Miss 
Estelle Andrews, of Newton, is a brilliant 
pianist, and has received many compliments 
from the best critics, though only an amateur as 
yet. Another niece of Mrs. Denison, Miss 
Mamie Andrews, of Baltimore, is also full of 

The Writer. 

musical talent; while her sister Annie has 
done some really fine work in art. 

Mrs. Denison*s husband was gifted also, and 
if he had not been so wedded to his work of 
philanthropy, Rev. Charles Denison might have 
rivalled his distinguished cousin, George Deni- 

son Prentice. But he laid both fortune and 
genius on the altar of our common humanity, 
and now his crown in heaven i9 rich in stars, 
which is better far than earthly fame. 

Margaret Sullivan Burke, 

Washington, D. C. 


There is a world of literary life and thought 
in this country into which the ordinary reader 
has not penetrated, and in considering some of 
the emanations therefrom it is not clear to my 
mind that the " ordinary reader " is, as a loser, 
very much to be pitied. I refer to the class of 
our litterateurs pure and simple — those who 
have separated themselves from the sympathies 
of ordinary life, and who not only eschew poli- 
tics, and theology, and the ordinary social 
questions, but surround themselves with as 
much unreality in every way as possible. 

The idea with these transcendental persons 
is to cultivate a literary life, independent of all 
surrounding conditions except those which 
arise from their association with each other or 
from the common studies in old-world literature 
in which all of this type are supposed to be profi- 
cient. Authors of this class are the sworn foes 
of the realism of magazine literature in the 
present day, and cannot understand why the 
reading public should care more for the peri- 
odical expressions of men distinguished in 
practical or professional life than for their own 
ostensibly deeper and more enduring themes. 
They look upon these doctors of divinity, 
famous generals, men high in the political 
world, and the like, as ephemeral and acci- 
dental, and upon themselves, I suppose, as the 
eternal verities. When they meet with dis- 
couragements and detect lack of popular appre- 
ciation they console themselves with the feel- 
ing that they cannot write down to the level of 
the American people, and they rail against the 
** commercialism " and dull realism of the 

present as the barrier to true literary progress. 

The fact is that the American people are 
practical-minded and give a practical character 
even to their ideal pursuits. It is impossible 
to revive literature in our day in the sense in 
which it existed when a leisurely and privileged 
class alone were entrusted with its preserva- 
tion. The age demands that literature shall 
give its reason for existence — that it shall 
stand ready to act as the handmaid of other 
arts and not attempt to dominate them. 

To show the discrowned and subordinate 
state of mere literature, let us imagine Byron 
come back to earth with his whims and 
crotchets and somewhat noisy sadness. The 
paragraphers of to-day would have no mercy 
upon him. Yet Byron never penetrated into 
the domain of the mystical or hypercritical as 
deeply as some of our modern literary tribe 
delight to do. He was as easily comprehended 
as a spelling book — that is, if one understood 
the true meaning of the social as well as 
political revolution of which Byron stood forth 
the most conspicuous literary illustrator. 

I believe that some of our most distinguished, 
and in a sense successful, literary folk are 
throwing their lives away for want of skill to 
read the signs of the times and see just what 
the world really wants. For one thing, the 
mass of readers do not want a literary tracery, 
so delicate that in following its complexities 
they shall lose sight of the main threads. 

" Ah ! " you say, " but we are not writing for 
the herd, — the perishable mass, — but for im- 

The Writer. 

Immortality always seemed to me, for one, 
"to be a very indefinite sort of thing. Lord 
Byron and Sir Walter Scott seemed to have as 
-fair an outlook for immortality as any literary 
men of their day and generation — and neither 
of these were mere dreamers or weavers of 
mystic and impalpable conceits. They were 
■both breezy, modern men in their treatment of 
every subject — either in verse or in prose. 
But both of these "immortals" have been 
practically discrowned for a generation or 
more. The taste of the world has steadily 
fixed itself more upon present things, and this 
change of taste has colored and directed 
literature and art no less than other branches 
of aesthetic progress. It may be impossible to 
-drive our romantic poets and other literary folk 
to a full realization of this change in popular 
demand. There are writers among us all of 
whose models are antique or mediaeval. They 
write in a tongue unknown to the mass of the 
readers of popular magazines. To say nothing 
of their allusions to vaguely-understood and 
out-of-the-way phases of old-world history, their 
style itself is not the style of the present day. 
It is not the style of the men and women who 
ride on railroads and read daily papers. It is 
unreal, introversive, reactionary. I admit that 
^here are great names among those included in 
this class, and some of them may prove im- 

perishable. But I would ask: Why delve and 
sweat in this renaissance crusade — this repro- 
duction of vanished forms — when our own age 
demands so much of the true scholar and poet 
for its proper illustration ? 

It seems to me that the whole question re- 
solves itself into this : Is literature in its final 
form fixed by the dainty taste of the antiquary 
and the classicist, or do the people make the 
poet, and is their approbation the decisive 
verdict ? 

The greatest of all who ever took stylus, 
quill, or harp in hand was emphatically the 
poet of the people. The strokes of Shake- 
speare were throughout bold, and his presenta- 
tions were such as the veriest rustic could 
understand. I wonder what some of our dainty 
men and women singers or romancists would 
think if they were required to write down to 
the people as Shakespeare did. I am strongly 
inclined to suspect that such writing is, after 
all, writing up. I know that this view would 
meet with serious disapprobation in some of 
the afiEected circles of our American Athens 
and among those other poets of our land who 
aspire to wander among old pillars and plinths 
and to cull sprigs of ivy from their desolation. 
But how about the average tastes of the great 
American people } 

Elmira, n. v. William B. Chisholm, 


A literary scrap-book is of invaluable aid to 
the literary worker, and materials for it may be 
gathered from the papers and magazines which 
pass through one's hands from day to day. 

Such a book lies before me as I write. It 
4s worth more to its owner than any book 
of essays or criticism, for it includes a wide 
o-ange of subjects, treated by many different 

.A few specimen titles may be quoted : " The 

Philosophy of the Short Story," Brander 
Matthews, in Z/)>//>i^<7//'jy "Virility in Fiction," 
Maurice Thompson, in the Independent; " The 
Writer's Inspiration," William H. Hills, in the 
American; "The Outlook for the American 
Poet," J. H. Haggerty, in America; "The 
Psychology of the Modern Novel," Professor 
George T. Ladd, in the Critic; " How Plays 
Are Written," Steele Mackaye, in The Author; 
and " Short Stories and Short-Story Writing," 

THE Writer. 

Hezekiah Butterworth, in The Writer. This 
last was from a duplicate copy ; The Writers 
are too valuable to clip. 

My scrap-book contains about sixty valuable 
and critical articles, and I am adding to it all 
the time. 

When the article is printed on both 
sides of the page, I paste it to the "stubs" 

with which the scrap-book is provided^ 
Many of us authors have but a limited space- 
for our lares and penates, and cannot keep maga- 
zines, even though they contain matter whicb 
may be of interest to us in the future. In the- 
literary scrap-book many valuable articles may- 
be preserved. Adelaide Rouse. 

New York City. 


I. — They Do. 

The finishing up of a story is the most import- 
ant feature of it ; but the question now presents 
itself to all writers, whether or not one^s idea 
of what the termination might be, if the charac- 
ters really lived and existed, should be sacri- 
ficed to a happy, cheerful ending. 

We all know the sorrow that is brought to a 
child's heart when the lovely wax doll of the 
story is carried off by the dog and the brave 
rescuer fails to appear in time, or when the 
jaunty, comical monkey, enshrined in the lov- 
ing little heart as the symbol of everything 
amusing and gay, is suddenly kicked and 
abused by its organ-grinder owner. Children 
love brightness and sunshine, and they should 
have it; but how about the grown-up story- 
readers, who confess to this same childishness 
about having the tale " turn out well " ? 

The writer, — dear me, has he anything to say 
after all ? He feels that he has, although he 
admits that his feeble wail is drowned in the 
sea of shouts that arise from the hungry pub- 
lic clamoring for cheerfulness. Still, his art 
demands that he depict nature ; and to marry 
the hero to the heroine in the end, when it has 
been his task through something like 4,000 or 
5,000 words to prove their utter uncongeniality, 
is nothing short of a crime to him. If it were 
actual life, he knows a divorce would follow in 
three months ; but because the characters are. 

Punch and Judy figures in his hand, to be- 
pulled and jerked in all directions at his will^ 
must he feel compelled to cater to a love of 
happy endings, when every fibre in his body 
protests against such injustice ? 

The Public has its claims, the Writer has his, 
but have not the creatures of fiction their rights 

Miss Mary Wilkins, in "Jane Field," gave 
us an ending that was not only artistic and 
dramatic, but natural and practically life-like. 
What if it did leave us with a sad wistfulness 
that the poor, narrow, suffering woman might 
have come rightfully into a portion, at least, of 
the wealth that she had dishonestly taken pos- 
session of? That has nothing to do with it. 
The termination, as Miss Wilkins has given it, 
is life. The whole strength of the story lies in 
that — any other ending would have detracted 
from the power of the story, and made it weak. 

Still, we recognize in the little love episode, 
with its happy finale, the writer's amiable desire 
not to leave us with too much sadness. To 
some this undoubtedly redeemed the story 
from utter blackness ; but to the writer-reader 
it was so small a part it might easily be erased 
and never be missed. 

But Miss Wilkins has won a name and fame \ 
she can afford to coddle and humor her inclina- 
tions, which, whether fortunately or unfortu- 
nately, the great majority of writers cannot do. 


When we become Miss Wilkinses, we may not 
only dictate to our ideas, but also to our editors. 
In the mean time, we must consult, to a certain 
extent, popular taste. 

The " happy-ending " constituents argue that 
there is enough misery and unhappiness in the 
world without writing about it. People read, 
they claim, for diversion. All this may be ; btit 
while the natural-ending element by no means 
encourages or advises, and, indeed, condemns, 
unnecessary depression or chronic melancholia, 
and while it is willing to make all reason- 
able concessions, it insists, at the same time, 
that the representation of life sometimes de- 
mands an unhappy termination; that art is 
nature, and that nature is often sadness. 

Alice Yates Grant, 

San FRANasco, Calif. 

II.— -They Don't. 

May it be permitted to a layman to inquire 
why the great majority of the writers of short 
stories in our leading magazines consider a 
tragic culmination to be indispensable to their 
productions ? 

Doubtless it is proof of our modern develop- 
ment of taste that both writer and reader are 
satisfied with the old system of story telling, 
which was but to portray the troublous course 
of true love, with a wedding at the close, and the 
sanguine inference that the lovers "lived in 
peace forever after." But why, in the reaction 
from centuries of such tales, short and long, 
should the pendulum swing to the extremest 
opposite? Must such a surfeit of final blisses 
beget the necessity of endless terminations of 
pathetic type ? 

It is comparatively seldom now that the 
magazine reader gets one cheering reflection, 
one hopeful impression, one inspiring picture 
from that galaxy of modern tales emanating 
from our brightest authors. 

At this rate, the touch of disparagement or 
satire, the pall of resignation or despair will 
soon become the insignia of membership in this 
too sophisticated coterie of letters. 

Now the average reader who leads an aver- 
age life sees quite enough of unrewarded labor, 
of thwarted ambitions, of weary disappoint- 
ments, and endless combinations of fruitless 

patience, unmerited punishments, and uncon- 
summated loves — without having it all re- 
flected upon him from the very agents to which 
he looks for amelioration of life's bitterness. 
If not to light literature, then where shall he 
turn for a soothing or inspiring suggestion of 
brighter destiny ? To be sure, the story-teller's 
art is supposed to be the mirror of resd life, — 
but why not reflect the high lights as well as 
the shuddering glooms ? Besides, the most 
prosaic art may idealize somewhat. 

We ail know the story of the two actors who 
had a contest to see which one could imitate a 
pig in the most natural and life-like manner. 
One, in the judgment of all concerned, was far 
more successful than the other, when the de- 
feated candidate opened his capacious coat and 
proved it to be a veritable pig whose too prosaic 
squealing had lost him the contest. 

" When I was young my strain was sad," says 
"Grace Greenwood," "but now I'm old my 
strain is glad," she adds, — and this is the nat- 
ural evolution of the human taste. In youth, 
with the disenchantments of experience practi- 
cally unknown, we revel in the "grand, gloomy, 
and peculiar." When youth is past, who wants 
to be eternally reminded that our illusions, aspi- 
rations, and all the rest are smoking on the 
altar-flres behind us ? 

For heaven's sake, gentlemen, give us some- 
thing brighter ! Let it be absurd, fantastic — 
what you will ! even to plebeian cheerfulness, 
and we will take the tonic draught with grati- 

Simple human nature, defeated of its instinct 
of worship and its hunger for perfect loves, 
does not desire the wet handkerchief of sympa- 
thetic experience held eternally to its eyes. 
Avaunt, with your harrowing heartaches, your 
processions of perplexities and disappoint- 
ments, your hopeless catastrophies, and 
tragic culminations of all sorts and shades! 
Get hence, every raven's wing that makes 
darker by a thought the already black dome 
under which this old world of ours, blind with 
agony, reels on to unknown futures ! Picture 
life a little sweeter than it is. Squeal more ably 
than Mr. Pig himself could do. 

Jessie Wilson Manning, 

Chariton, la. 


THE Writer. 

The Writer. 

Published monthly by The Writer Publishing Company, 282 
Washington street, Rooms g and io« Boston, Mass. 



*«*Thb Writer is published the first day of every month. 
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%* All drafts and money orders should be made passable to 
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%* Contributions not used will be returned, if a stamped and 
addressed envelope is enclosed. 


282 Washington Street ( Rooms 9 and 10 ), 
( P. O. Box 1905. ) Boston, Mass. 

Vol. VII. January," 1894. No. i. 

Mr. Vansant*s helpful article in this number 
of The Writer is in the same line as the 
article entitled " The Variations of * Said * " by 
Arthur C. Grissom, which was published in 
The Writer for February, 1891. Mr. Gris- 
som^s article included an alphabetical table of 
between 400 and 500 words which may be used 
in place of " said," and it still remains the most 
exhaustive treatment of the subject ever pub- 


Short, practical articles on any topic con- 
nected with literary work are always wanted 
for The Writer. Literary people are invited 
especially to send in suggestions for the " Help- 
ful Hints" department, and items of information 

about any literary work on which they may be 
engaged. The chief object of The Writer is 
to be a magazine of mutual help for authors, 
and its pages are always open for anything 
practical which may tend in this direction. 
Bits of personal experience, suggestions regard- 
ing methods, and ideas for making literary 
work easier or more profitable are especially 
desired. Articles must be short, because the 
magazine is small. 


The sixth bound volume of The Writer, 
with full index and title-page, will be ready for 
delivery about January 25. It will contain 
more than 230 pages, and will be neatly bound 
in cloth, in style uniform with the preceding 
volumes. A complete set of bound volumes of 
The Writer is something that no writer's 
library should be without. Nowhere else can 
be found so many practical, helpful articles 
and suggestions regarding the best and most 
profitable methods of literary work. It will 
not be possible always to secure a complete 
bound set of The Writer, for the supply of 
some of the volumes is so small that already 
the price of single volumes has been advanced, 
and the supply is sure to be exhausted at no 
distant day. Those who would like complete 
sets of the magazine, therefore, will do well to 
send in their orders now. The purchase of a set 
will be a good investment, for complete sets of 
the magazine are sure to increase in value as 
the years go by. 


The price of Vol. VI. of The Writer, for 
1892-93, will be $1.50. The price of a complete 
bound set of the six volumes of the magazine 
will be for the present Nine Dollars, or, with a 
subscription for The Writer for 1894 added. 
Ten Dollars. No better present could be given 
to any literary worker. The prices of volumes 
of The Writer ordered singly are: Vol. I. 
(1887), $2.00; Vol. II. ( 1889), $1.50; Vol. III. 
(1889), $2.00; Vol. IV. (1890), $1.50; Vol. V. 
(1891 ), $1.50; Vol. VI. ( 1891-92), $1.50. Those 
who desire to complete their sets should send 
their orders now, before it is too late. 

♦ *♦ 

A few complete sets of The Author — 
which was merged with The Writer at the 

The Writer. 

beginning of 1892 — may still be had. They 
comprise the three bound volumes for 1889, 
1890, and 1 891, which will be sold separately 
for Two Dollars each, or together for Five 
Dollars. These volumes of The Author con- 
tain a fund of information about authors and 
literary work to be obtained nowhere else, and, 
like the volumes of The Writer, they are sure 
to be enhanced in value as time goes on. The 
number of complete sets available is compara- 
"tively small. 

What better investment can any writer make 
than to spend fifteen dollars for a complete set 
of the bound volumes of The Writer and 
The Author, together with a subscription for 
The Writer for 1894, — either for himself or 
as a useful present to a literary friend ? 

* * 

" There is little excuse for a man's corre- 
spondence or other literary accumulations to 
lie carelessly around the house or library when 
a letter file with index can be purchased for less 
than twenty-five cents," says the American 
Stationer — and the American Stationer is 
right. The literary man, especially, cannot 
afford not to lake advantage of the inexpensive 
helps to order and classification which he can 
get at small expense. Pigeon-holes, a box of 
envelopes for filing purposes, desk drawers 
suitably sub-divided, scrap books, and a simple 
indexed letter file for correspondence are 
Avithin the reach of every one, and they are all 
invaluable helps to literary men. Editors, 
particularly, need such conveniences for the 
orderly performance of their daily work. It 
is chiefly because editors are so unsystematic 
that writers have reason for complaint. 


Certainly no magazine editor ought to encour- 
age the ** thirteen " superstition by always send- 
ing back all his rejected manuscripts on the 
thirteenth day of the month. 

W. H. H. 



Nobody cares what first aroused you to your 
theme. No one cares whether you were at your 
baize-covered desk or sawing wood when your 
topic, like a stiff gale, rushed into your mental 

sails, and made them belly with fresh ideas. 
Few readers will seek to know where you were 
stationed when the coy subject came buzzing 
into your mind, and formed itself into a convic- 
tion, and how you impaled it with your tren- 
chant pen before it could vanish into forget- 

Plant your ideas thick, but not two in a hill. 
Don't imagine that they should be set through 
your article like sentinels — with considerable 
space between. Close up the ranks; your ideas 
won't suffocate. The average reader has the 
capacity to scoop them up where they are 
thickly settled, without milestones explaining 
their distance and locality. 

Huddle your thoughts into short, pithy para- 
graphs. Don't smother them with verbiage, 
until they dwindle into faint shadows, flitting 
through a forest of big words. 

This is merely the faint outline of an ideal 
conception, which is as unapproachable as the 
horizon, and which mocks me with its impos- 
sible beauty; but it is a standard at which all 
who write for the press should aim. 

Brooklyn, N. Y. Jed Scarboro- 


She " began," " asked," " said," " remarked," 
" suggested," " answered," " explained," " mur- 
mured," "admitted," "interposed," "sighed," 
" babbled," and " fluttered." 

The reader may be curious to know in what 
occupation the female represented by the pro- 
noun was engaged, that such a collection of 
diverse verbs should be necessary to explain 
her actions. These, however, are merely some 
of the words used by William Dean Howells 
for the purpose of introducing conversation in 
one of his recent works. 

As is well known, the dialogue in a novel adds 
greatly to its charm ; and if it is well written, it 
will hold the reader's attention even better than 
an exciting description. 

The verb employed must be, as a rule, in the 
past tense, and the most convenient and expres- 
sive one is " said " ; but the constant repetition 
of this word becomes monotonous; although 
many authors of reputation are seemingly not 


The Writer. 

afraid to use It, and sprinkle their pages liber- 
ally with ** saids/* The careless reader becomes 
so used to its appearance that often the repeti- 
tion IS not noticed. The next time you pick up 
a story, just count the number of times the word 
occurs, and you will probably be surprised at 
its frequency. 

To avoid tautology, a number of other words 
prove of great value to the writer, and his 
" Unabridged '* is compelled to yield up appro- 
priate terms in which to introduce the speech 
of his characters. 

Charles Dickens made the conventional 
"said" do useful service. For example, on 
one page of " Pickwick " we find this word 
employed seventeen times — seven times in 
successive remarks. 

Among other words used by the great novel- 
ist are the following: "Inquired," "replied," 
"exclaimed," "echoed," "urged," "whispered," 
"observed," "nodded," "cried," "resumed," 
"continued," "responded," "rejoined," "sug- 
gested," " remonstrated," " ejaculated," " solilo- 
quized," "growled," "screamed," and " roared." 

Very often no explanatory words are neces- 
sary to show which person is speaking, and the 
dialogue continues in this way, until at last it is 
necessary to jog the memory by introducing a 

The number of words which it is possible to 
employ for the purpose is almost unlimited ; 
but it is not well to show too much ingenuity in 
capturing outlandish expressions. A simple 
and direct style is much more readable, although 
at times there may be a little tautology. 

The following conversational aids are fre- 
quently used: "Returned," "pursued," "re- 
torted," "repeated." "insisted," "went on," 
"announced," "sobbed," "declared," "cor- 
rected," " interposed," " demanded," " ven- 
tured," "put in," "pronounced," "questioned," 
"muttered," "lisped," and "snapped." 

Pmilad«lphia. Penn. IVtibur M, Vausant 

AN author's" CONFESSION. 

" Now, I call that real pretty," said she, smil- 
ing at me over her gold-bowed spectacles.. 
" It*s as good as that piece I read last Sunday 
in the" — but never mind about the name; I 
will be merciful and spare the tender feelings- 
of the paper in question, albeit its editor never 
spared mine — "Why don't you get it printed?"" 

Dear, simple soul ! How could she know 
why I did n't.' that was too much for even me,, 
grown worldly wise. 

I did not tell her that I had already sent it ta 
nine editors, and that whatever the reason was 
why I had n't got it printed, it was certainly not 
because I had n*t tried. No, I could n't tell her 
that ; it would have terribly shaken her faith ia 
me, and without the slightest reason, as my 
brother and sister rhymers can sadly testify. 

And what did I say? 

Well, if you must know, I answered with a 
studied carelessness that would have beea 
amusing to you, initiated reader, if you hadl 
been there : — 

" Oh ! I don't know but I shall sometime." 

Persis E, Darrow. 

Wbntworth, N. H. 

I had just been reading a little poem to a 
fond aunt of mine, a dear, simple old lady. I 
was a trifle proud of these particular verses, it 
must be confessed, and my good aunt was very 


[ Questions relating to literary work or literary topics will be- 
answered in this department. Questions must be brief, andl 
of ^neral interest. Questions on general topics should be 
directed elsewhere.] 

How long should be allowed by publishers' 
etiquette l^fore an article submitted for publi- 
cation is acknowledged or returned? Is it 
quite fair for an editor to keep an article for a 
long time (say, a year), and then return it 
"with regrets,'^ etc., etc.? H. A. w. 

[ The best magazines usually either accept or 
decline a manuscript within a month from the- 
time of its receipt. A delay of two months iiv 
reaching a decision is not uncommon. If a. 
writer has heard nothing from a manuscript 
two months after he submitted it, it will do no 
harm for him to make inquiries regarding it« 
It is not right, of course, for an editor to keep a 
manuscript a year l>efore accepting or returning 
it. Sometimes, however, such things are done^ 
either through carelessness, unbusinesslike 
methods, or even absolute inability on the part 
of the editor to keep up systematically with the 

The Writer. 


datlj work of his position. The large maga- 
zines, which receive the most manascripts, are 
forced to make provision for handling them sys- 
tematically, and so give contributors the least 
trouble. The periodicals that are most likely to 
delay decisions are the small publications, which 
cJtnnot afford to pay a salary to a manuscript 
clerk, arid which are cramped generally in their 
resources. In the case of such periodicals, the 
task of caring for manuscripts received falls 
usually upon the editor. Most literary men are 
unbusinesslike, editors no less so than the rest. 
The result is that the overworked editor delays 
decisions and mislays manuscripts in a most 
exasperating way, and contributors suffer ac- 
cordingly. All this will be changed when the 
time comes, if it ever does, when the demand 
for manuscripts is greater than the supply, and 
so writers are in a position to dictate terms to 
editors, instead of having to put up with what 
they can get, as they must now. — w. H. h. ] 

When a writer has a book to submit, is it not 
advisable to write to a number of publishers at 
once ? Writing to each one consecutively 
might consume a whole year, and still that book 
would not be placed, or even examined. 

M. B. C.. 

[ It might seem at first thought that a writer 
with a book manuscript to sell could save a 
great deal of time by writing simultaneously to 
every publisher for whose use the manuscript 
should seem suitable, describing it, and asking 
each publisher addressed if he would like to 
examine the manuscript with a view to publica- 
tion. There are practical objections, however, 
to this plan. In the first place, it is not easy to 
describe a manuscript so as to give an adequate 
idea of it, and in many cases the author^s de- 
scription would work him an injustice : the pub- 
lisher might conclude that he did not care to 
look at the manuscript, and write to say so, 
whereas, if the manuscript itself had been sub- 
mitted to him for examination, he might have 
been attracted by it, so as to make an offer for its 
publication. In the second place, it is not easy 
to deal with more than one publisher simultane- 
ously, unless the author has more than one 
copy of the manuscript to be submitted. If, 
for instance, five publishers out of fifty should 
reply to the author's letter of inquiry that they 

would be pleased to examine his manuscript, he- 
would have to have five copies of it to send out,, 
or else he would have to send four letters of 
explanation that might tax his ingenuity. If he 
had the five copies required, moreover, and 
should send them out simultaneously, he might 
— possibly — be embarrassed by having three 
of the publishers write to him accepting the 
manuscript — in which case he would have to- 
make himself unpopular with two of them, at 
least. All things considered, the slower method 
of approaching one publisher after another with 
the manuscript itself, instead of with a letter 
describing it, seems to be the safer and the 
better one. It takes time to do this, of course,, 
but Rome wasn't built in a day, and even 
Chicago dates clear back to 1831. — w. h. h.] 

Is it not possible that even so able a scholar 
as J. H. Long has made a mistake, when, 
in his "Slips of Tongue and Pen," he recom- 
mends the use of "iced water*' and "iced 
cream," in preference to the more popular 
terms, "ice water" and "ice cream"? It 
seems to me that the two words are scarcely in 
parallel case. The use of the word "iced 
water" is, no doubt, correct; but is not "ice 
water " equallv so, — meaning, as it does, a kind 
of water, and established by custom? "Iced 
cream," however, is to my mind incorrect. The 
word used in this form should convey the idea 
of cream set upon ice to cool, or of cream with 
lumps of ice floating in it; and not, in any 
sense, the popularly accepted meaning of cream 
frozen into ice. e. n. b. 

[ Strictly speaking, " ice water " is water made 
by melting ice, while "iced water" is water 
cooled by ice. As a matter of fact, however,, 
in America at least, " ice water " and " ice 
cream " are both names too firmly fixed in 
popular use to be changed by any criticism, 
and it seems hardly worth while even to at- 
tempt to make any distinction between them — 
although if Americans would use ice water 
( literally ) less, and iced water ( literally ) more, 
the American stomach would unquestionably 
be a great deal better off. — w. h. h.] 


I was interested in an article concerning 
writers' methods in The Writer for October, 
and pleased to learn that I had long ago discov- 


THE Writer. 

•cred for myself some things that others have 
found valuable. But I have gone a step further 
than your writer: besides keeping an entry- 
book account for all the offered-for-publication 
children of my brain, I have kept on each page 
an entry of how long manuscripts have been re- 
tained before being returned; how much was 
paid for them if they were accepted ; and other 
small items, of interest to no one but myself, 
the whole forming a condensed history of the 
article published. This afEords me amusement, 
sometimes, when years have passed, and pre- 
vents me from sending the same article to a 
publisher twice. H. A. w. 

Brooklyni N. Y. 

I beg leave to " speak out in meetin' " on the 
•subject of your third editorial in the November 
number of The Writer. There is one maga- 
zine writer — of no note, as yet, however — who 
has papered his sanctum with the returned-with- 
thanks slips of the magazines that failed to rec- 
ognize his burning genius at first acquaintance. 
He began the practice about two years ago, and 
though he has moved his quarters now to a 
more congenial vicinity, the walls of the old room 
still bear witness to the herculean efforts he 
made to get into the magazines then. Moreover, 
he found the habit a most efl5cient check to that 
disease known as the "swellhead," when, at 
rare intervals, a small check of another sort 
drifted in from some publisher, and was in 
imminent danger of increasing the author's hat- 
band. Having used this preventive-cure, he 
feels qualified to recommend it, and as the 
medicine is neither patented nor difficult to 
procure, he thinks you would do well to suggest 
its use to the many readers of your magazine 
who feel, that however brilliant they may be, 
there are others twice as bright. 

Everard T. Appieton, 

Salt Sulphur Springs, W. Va. 

AVhy should an editor believe it to be just 
cause for irritation when an author, in all inno- 
cence of heart, informs him that another periodi- 
cal has accepted the contribution which he 
declined ? Suppose, for instance, a poor crea- 
ture should do her very best to make a bonnet 
which she was sure would suit me, having me 
in mind with every stitch she put in it, and 

then, with heart beating high with hope, should 
bring it to me, willing to take my price for it. 
Suppose that I am so well supplied with bon- 
nets that suit me better in style and finish that 
I cannot possibly take hers ; is that just cause 
for me to feel piqued when she comes with 
beaming eyes, expecting me to rejoice with her 
that some other woman, not so well supplied as 
I, has taken it? Should I not be glad that her 
toil has been rewarded, instead of suspecting 
her of the meanness of trying to retaliate by 
letting me know that there were people who 
knew a good article when they saw it, and, there- 
fore, by implication, are not so obtuse as I ? 
Should I not rejoice in her joy ? I think so. 

Washington, D. C. /ffl/^r Kearney, 


Directory of Periodicals. Compiled by M. A. Weston 
andA. L. Nay. 30 pp. Paper, 25 cents. West Peterboro, 
N. H.: Josiah C. Nay. 1893. 

All published lists of periodicals like this are 
of necessity more or less unsatisfactory, be- 
cause suspensions, combinations, and changes 
of address are made so frequently that printed 
lists cannot be depended upon for any great 
length of time. This list, for instance, includes 
Wide Awake, the Weekly Review, the Home 
Maker, and some others which are no longer 
published, and there are numerous wrong ad- 
dresses and other errors in the list. So far as 
it can be depended upon, the little book is use- 
ful, but it should not be trusted too implicitly. 

w. H. H. 

Shakespeare's England. By William Winter. 374 pp. 
Qoth, 75 cents. New York : Macmillan & Co. 189a. 

Wanderers. The poems of William Winter. With portrait. 
268 pp. Cloth, 75 cents. New York : Macmillan & Co. 

Shadows OF the Stage. By Winter Winter. 387 pp. Cloth, 
75 cents. New York : Macmillan & Co. 1892. 

Old Shrines and Ivv. By William Winter. 296 pp. Cloth, 
75 cents. New York: Macmillan & Co. 1892. 

This dainty new edition of the works of Wil- 
liam Winter will be welcome to the many 
admirers of that talented American critic, poet, 
and essayist. The well-made i8mo volumes 
are most attractive to the eye, and the edi- 
tion is in every way a satisfactory one. In 
"Shakespeare's England'* Mr. Winter writes 
with sympathy and charming grace of English 
life and scenery, — describing, as the preface 
says, " not so much the England of fact as the 
England created and hallowed by the spirit of 
her poetry, of which Shakespeare is the soul." 
The portrait prefixed to " Wanderers " is an 
interesting one. The poems included in the 

The Writer. 


datlj work of his position. The large maga- 
zines, which receive the most manascripts, are 
forced to make provision for handling them sys- 
tematically, and so give contributors the least 
trouble. The periodicals that are most likely to 
delay decisions are the small publications, which 
ciinnot afford to pay a salary to a manuscript 
clerk, arid which are cramped generally in their 
resources. In the case of such periodicals, the 
task of caring for tnanuscripts received falls 
usually upon the editor. Most literary men are 
unbusinesslike, editors no less so than the rest 
The result is that the overworked editor delays 
decisions and mislays manuscripts in a most 
exasperating way, and contributors suffer ac- 
cordingly. All this will be changed when the 
time comes, if it ever does, when the demand 
for manuscripts is greater than the supply, and 
so writers are in a position to dictate terms to 
editors, instead of having to put up with what 
they can get, as they must now. — w. H. h. ] 

When a writer has a book to submit, is it not 
advisable to write to a number of publishers at 
once ? Writing to each one consecutively 
might consume a whole year, and still that book 
would not be placed, or even examined. 

M. B. C.. 

[ It might seem at first thought that a writer 
with a book manuscript to sell could save a 
great deal of time by writing simultaneously to 
every publisher for whose use the manuscript 
should seem suitable, describing it, and asking 
each publisher addressed if he would like to 
examine the manuscript with a view to publica- 
tion. There are practical objections, however, 
to this plan. In the first place, it is not easy to 
describe a manuscript so as to give an adequate 
idea of it, and in many cases the author^s de- 
scription would work him an injustice : the pub- 
lisher might conclude that he did not care to 
look at the manuscript, and write to say so, 
whereas, if the manuscript itself had been sub- 
mitted to him for examination, he might have 
been attracted by it, so as to make an offer for its 
publication. In the second place, it is not easy 
to deal with more than one publisher simultane- 
ously, unless the author has more than one 
copy of the manuscript to be submitted. If, 
for instance, five publishers out of fifty should 
reply to the author*s letter of inquiry that they 

would be pleased to examine his manuscript, he- 
would have to have five copies of it to send out,, 
or else he would have to send four letters of 
explanation that might tax his ingenuity. If he 
had th^ five copies required, moreover, and 
should send them out simultaneously, he might 
— possibly — be embarrassed by having three 
of the publishers write to him accepting the 
manuscript — in which case he would have to- 
make himself unpopular with two of them, at 
least. All things considered, the slower method 
of approaching one publisher after another with 
the manuscript itself, instead of with a letter 
describing it, seems to be the safer and the 
better one. It takes time to do this, of course,, 
but Rome wasn't built in a day, and even 
Chicago dates clear back to 1831. — w. h. h.J 

Is it not possible that even so able a scholar 
as J. H. Long has made a mistake, when, 
in his "Slips of Tongue and Pen," he recom- 
mends the use of "iced water" and "iced 
cream," in preference to the more popular 
terms, "ice water" and "ice cream"? It 
seems to me that the two words are scarcelv in 
parallel case. The use of the word "iced 
water" is, no doubt, correct; but is not "ice 
water " equallv so, — meaning, as it does, a kind 
of water, and established by custom? "Iced 
cream," however, is to my mind incorrect. The 
word used in this form should convey the idea 
of cream set upon ice to cool, or of cream with 
lumps of ice floating in it; and not, in any 
sense, the popularly accepted meaning of cream 
frozen into ice. e. n. b. 

[ Strictly speaking, " ice water " is water made 
by melting ice, while "iced water" is water 
cooled by ice. As a matter of fact, however,, 
in America at least, " ice water " and " ice 
cream " are both names too firmly fixed in 
popular use to be changed by any criticism, 
and it seems hardly worth while even to at- 
tempt to make any distinction between them — 
although if Americans would use ice water 
( literally ) less, and iced water ( literally ) more, 
the American stomach would unquestionably 
be a great deal better off. — w. h. h.] 


I was interested in an article concerning 
writers' methods in The Writer for October, 
and pleased to learn that I had long ago discov- 


THE Writer. 

pri^pnment." All these stories are reprinted 
irom peripdicals, the first three from the Ladies' 
Horn^ yournqi. They are well told, and in- 
trinsically interesting. w. h. h. 

Cathakinb Fubzb. By Mark Rutherford. Edited by bis 
friend, Reuben Shapcott. 325 pp. Cloth, $1.00. New 
York : Macmillan & Co. 1893. 

Catharine Furze is the daughter of an 
English iron-monger, whose mother ha^ aspira- 
tions toward a higher social position. The 
girl's father fails in business ; tne mother fails 
to attain the position she desires; an honest 
young fellow who loves Catharine fails to win 
ner love in return ; the girl who loves him dies 
after failing to arouse his interest ; and C'atha- 
rine herself dies at the end of the story, the 
-one love of her life having been given hope- 
lessly to a married minister, who loves her 
hopelessly in return. The novel is differen- 
tiated from the average French novel by the 
artifice of haying both the girl and the minister 
control the unhappy passion, and, as the author 
^ays, even get good from it. The characters 
are generally well drawn, and the story is fairly 
well told throughout. w. H. h. 

Two BiTBs AT A Chbbry. With other tales. Bv Thomas 
Bailey Aldrich. 269pp. Cloth, |i. 25. Boston: Houghton, 
Mi£Bin, & Co. 1894. 

Mr. Aldrich's stories are always exquisite, 
and this collection of the latest of them is a 
•delightful one. The book includes " * For 
Bravery on the Field of Battle,' " " The Cheva- 
lier de Resseguier," ** Goliath," " My Cousin, 
the Colonel,'* "A Christmas Fantasy, with a 
Moral," and " Her D^ing Words." It is a 
-dainty volume, and it will be welcomed by all of 
Mr. Aldrich's admirers. Already the book has 
reached its fifth thousand. w. h. h. 


Mabioh Dabckb. a Story Without Comment. By F. 
Marion Crawford. 309 pp. Cloth, $1.00. New York: 
Macmillan & Co. .1893. 

PiffTKO Ghislbri. Bt F. Marion Crawford. 439 pp. Cloth, 
Iz.oo. New York : Macmillan & Co. 1893. 

Thb Hbir of Rbdclyffb. By Charlotte M. Yonge. Illus- 
trated by Kate Greenaway. 478 pp. Paper, 50 cents. Chi- 
cago : Rand, McNally, & Co. 1893. 


Tablet Covers for Manuscripts. — Writers 
who use the better class of book tablets, either 
ior correspondence or literary work, will find the 
covers, after the paper is used, very useful as 
portfolios for short stories, sketches, poems, 
etc. Manuscripts, either in their rough or fin- 
ished state, are apt to get tumbled if placed 
loose in a drawer; and, of course, no self- 

respecting author would think of roUiug^ey&CL 
the roughest of his notes. What thei> ? Why, 
tablejt covers, to be sure! Your copy of ajl 
kinds should be of about the same size as your 
note paper. Hunt up a cover, or, better stillt 
keep a supply ready, and lay therein your story. 
Place a rubber band over each end, and you 
may almost play football with your manuscript. 
It will keep for years, unsoiled. F. e. m. 

Chicago, 111. 

A Literary " Incubator." — One of the pigeon 
holes above my desk I have named " The Incu- 
bator." Its use, as the name implies, is for 
the development of idea-germs. When one or 
more " ideas " seem promising, they are trans- 
ferred, each in separate envelopes, to the "incu- 
bator," where notes or clippings are added to 
each as the subject develops in the mind or by 
study. I find the " incubator " one of the most 

useful assistants in my work. f. e. m. 

Chicago, 111. 

Learning to Illustrate. — "C. B. M.," who 
inquires in the September Writer how he can 
best learn to draw well enough to make simple 
illustrations for his stories, might derive some 
benefit from reading the Art Student for 
November, which contains the original of an 
illustration reproduced full size, and then the 
same illustration reproduced as it appeared in 
the magazine for which it was made. A visit 
to any of the large publishing houses and a 
view of the many originals of illustrations would 
be of great benefit to one who wished to illus- 
trate his own articles. l. e. w. 

Sing Sing, N. Y. 

Saving Telegraph Tolls. — Telegraphing at 
press rates nowadays is comparatively cheap, 
but where messages are sent over long dis- 
tances, as from Chicago to San Francisco, for 
example, the telegraph tolls are considerable 
and the saving of superfluous words is a matter 
of importance. In news despatches it is cus- 
tomary for correspondents to mark the filing 
time at the beginning of the message, thus : 
" Filed 8.30," or whatever hour the message is 
sent. These words are included in the tele- 
graph company's count of words; signatures 
are not; accordingly, some regular corre- 
spondents indicate the hours of filing by using 



<li£Eerent given names in their signatures. For 
instance, Charles Diehl is manager of the Pacific 
Associated Press, and he appears under many 
aliases during the night. At 7 o'clock he is 
^* Paul " Diehl, at 7.30 " Peter," at 8 " John," 
and so on. The manager of the Associated 
Press at Chicago, who, of course, has a key, 
•can tell the filing time of any despatch from 
Diehl by looking at the signature. A story is 
told, by the way, of a new telegraph editor on 
the Chicago Tribune^ who wondered at the num- 
ber of different Diehls sending despatches from 
San Francisco, and who swallowed whole the 
ingenious story that there were thirteen 
brothers who worked harmoniously together — 
the most wonderful group of newspaper men in 
all the world. b. t. s. 

San FRANasco, Calif. 

Enlarging One's Vocabulary. — For the 
purpose of enlarging my vocabulary, I keep a 
•(sometime) blank-book, divided into twenty-six 
different parts, thus giving a proportionate 
amount of space to each letter of the alphabet. 
When, in my reading or in conversation, I am 
confronted by a word with which I am not 
wholly familiar, I immediately jot it down in my 
-** private vocabulary," with list of synonyms, 
definitions, examples of use, etc. I find this 
practice very useful as an aid to memory. 

E. N. B. 

Skanbatblbs, N. Y. 


[The publisher of Thb Writer will send to any address a 
•copy of any magazine mentioned in the following reference list 
on receipt of the price given in parenthesis following the name. 
Readers who send to the publishers of the periodicals indexed 
for copies containing the articles mentioned in the list will con- 
fer a favor if they will mention Thb Writbr when they write. 

Thb Ending op Barstow's Novbl. A Story. Helen 
-Campbell. Harper's ( 35 c. ) for January. 

Illustrators and Illustration. Charles Dudley 
Warner. Harper's (35 c. ) for January. 

Whittibr Dbsultoria. Charlotte F. Bates. Cosmopolir 
tan ( 15 c. ) for January. 

Humor : English and Ambrican. Agnes Repplier. Cos- 
tnopoiUan (15 c.) for January. 

Edwin Lassbtbr Bynnbr. With portrait. Edward 
Everett Hale. New EnglatuL Magasine (250.) for January. 

Matthbw Arnold. With portrait. Joseph Henry 
Crooker. New England Magasine (25 c. ) for January. 

Tbn Lbttbrs from Colbridgb to Southby. Atfantu 
(35 c.) for Janu^fy. 

LowBLL, Brooks, and Gray in Thbir Lbttbrs. Atlan- 
tic for January. 

Following Dickbns with a Cambra. H. H. Ragan. 
Outing ( 25 c. ) for January. 

Elis^b Rbclus and His Opinions. With portrait. Helen 
Zimmbrn. Popular Science Monthly for January. 

Tbnnyson as thb Pobt of Evolution. Theodore Watts. 
Reprinted from Nineteenth Century in LittelVe Living Age 
( 18 c. ) for December 9. 

How Fauntlbroy Rbally Occurrbd. Frances Ho<^- 
son Burnett. Ladies' Home Journal ( 10 c. ) for Deceii^>er. 

My Litbrary Passions. — I. William Dean Hpvells 
Ladies* Home Journal ( 10 c } for December. 

Thb Litbrary Rbmains of Thomas Bragdon. A Story. 
John Kendrick Bangs. Harper's Weehly (10 c.) for December 

John Tyndall. With portrait. Professor N. S. Shaler. 
Harper's IVeehly ( 10 c. ) for December 23. 

T. W. HiGGiNSON. With portrait. Chicago Graphic ( 10 c. ) 
for December 2. 

Thb Idbal Library: of What Should It Bb Consti- 
TUTBD? Sarah K. Bolton, John Habberton, Mary Lowe 
Dickinson. Chicago Graphic ( 10 c. ) for December 9. 

An Alaska Nbwspapbr. Chicago Graphic (10 c. ) for 
December 9. 

Cblia Thaxtbr. With portrait. Chicago Graphic ( 10 c. ) 
for December 9. 

W. T. Stbad. With portrait. Charles F. French. Chi- 
cago Graphic ( 10 c. ) for December 16. 

Alphonsb Daudbt. With portrait. Chicago Graphic for 
December 16. 

Donald Grant Mitchbll ( *' Ik Marvel " ). With por- 
trait. Chicago Graphic for December 23. 

John Tyndall. With portrait. Chicago Graphic ( xo c. ) 
for December 30. 

ViCTORiBN Sardou. With portrait. Chicago Graphic 
( 10 c. ) for December 30. 

Thb Forum and Its Editor (Walter H. Page). With 
portrait. Maida, thb Rbportbr. A Story. Frank W. 
Bolande. A Midnight Mistakb. A Newspaper Story. 
Thomas F. Anderson. Thb SaBNCB of American Jour- 
nalism. Robert F. Walsh, etc., etc. Christmas Journalist 
( as c. ). 

Dealing with Editors. Wilder Grahame. Journalist 
( 10 c. ) for December 30. 

Tub Story of thb Photographic Times. With portraits 
of E. L. Wilson, J. TraiU Taylor, W. J. StUlman, Clwlcs 
Ehrmann, W. I. Lincoln Adams, Walter F. Woodbury- 
Photographic Times Christmas number (25 c.). 

A Case of Authorship. A Story. Thomas R. Van Reed. 
California^ ( 25 c. ) for December. 

Literary CoMMBRaALisM. William B. Chisholm. New 
PetersorCs Magazine ( 10 c. ) for December. 

Journalism as a Profession for Women. Emily Raw- 
ford. Reprinted from Contemporary Review in Eclectic ( 45 c.) 
for December. 

Church and Press J. Thackray Bunce. Reprinted from 
National Review in Eclectic ( 45 c. } for December. 

Realism in Litbraturb and Art. Clarence S. Darrow. 
A rena ( 50 c. ) for December. 

Gbrald Massby: Prophet and Rbformbr. B. O. 
Flower. A rena ( 50 c. ) for December. 

Mr. Howblls Again. Celia Parker WooUey. New Eng- 
land Majasine ( 25 c. ) for December. 


The Writer. 

Hastakd Univbksity Libraky. Charies Knowlet Bol- 
ton. Ntw Englattd MmgaxtM* ( 25 c ) for December. 
William H. Prbscott. Samuel Eliot. AVw Engiand 
( J5 c. ) for December. 


Professor John Tyndall died December 4 at 
his home in Haslemere, county of Surrey, Eng- 
land, aged seventy-three. 

M. F. Sweetser, long a resident of Boston 
and well known in the book business, has 
removed with his family to Denver, Colo., where 
he intends to reside for several years, or until 
his health is sufficiently recovered to warrant 
his returning to Boston. 

John H. Whitson, who had an interesting 
article on the Ramona Indian School at Santa 
F^, N. M., in the November number of IVortk- 
ingUm^s Magazine^ is spending a part of the 
winter at New Orleans, making a study of the 
French, quarter of the city. 

Tom P. Morgan, whose Western stories in 
the y<mth's Companion^ Harper's^ GoltUn Days^ 
etc., have attracted much attention, is at his 
home in Rogers, Ark., working away earnestly 
on humorous paragraphs and sketches to make 
the public laugh. 

Lorettus S. Metcalf, formerly editor of the 
Farum^ is now proprietor of the Florida Citi- 
MiH^ a daily newspaper published at Jackson- 

General Lew Wallace consulted more than 
fifty books in the preparation of his novel, " The 
Prince of India,** and for a time before begin- 
ning work he studied astrology in the congres- 
sional library at Washington, the necessary 
books being obtainable in this country only 
there. He spent five years in research, and six 
more in writing the novel. His wife was the 
only person who knew the scheme of the novel, 
the only one who had access to his manuscript, 
and the only person with whom he consulted 
while writing. 

With the January number Current Utiratun 
will go back to its original large form, becom- 
ing again an eclectic magazine of ninety-six 
broad pages monthly. The change is one that 
will be welcomed by many readers. 

Florence Hull, co-editor of Childhood^ will go» 
upon the staff of Gadey^s in January, as editor 
of the Home Department, which Mrs. Henry 
Ward Beecher has resigned. Besides her edi- 
torial work in Childhood^ which has brought her 
into considerable prominence, Florence Hull i& 
known as a contributor to various magazines 
and journals, writing both stories and essays 
with equal facility — a facility gained by many 
years of hard, self-imposed toil, which few 
excepting French authors ever consider neces- 
sary to their profession. But her most ambi- 
tious work is in preparation, a complete work, 
in three volumes, upon race culture, the first 
volume of which has appeared as a series of 
papers in Childhood duxxng the past year and is 
to be brought out before long under its title, 
** Preparation for Parenthood." 

The first purely literary work produced in 
America was a translation of Ovid^s *'Metamor- 
phoses," by George Sandys, of Virginia, made 
in 1774, and published in 1776. The first 
original work published in New England was a 
volume of poems by Mrs. Anne Bradstreet, 
daughter of Governor Dudley, of Massachu- 
setts, published in 1640. 

Papers in the January Atlantic of uncommon 
interest to students of literary history are ten 
letters, hitherto unpublished, from Coleridge to 
Southey, and " Down to Tower'd Camelot," a 
"Talk at a Country House," by Sir Edward 
Strachey, himself the editor of the Globe edition 
of Sir Thomas Malory*s " Mort d'Arthur," with 
which the " Talk " is concerned. 

The Critic for December 2 publishes a re- 
markably good portrait of Madame Sarah 
Grand, the author of that popular book, '* The 
Heavenly Twins." Madame Grand*s real name 
is Mrs. McFall. 

The Pope Manufacturing Company's Colum- 
bia pad calendar has been sent to 6,000 authors 
and literary people this year, as in previous 
years. It is a useful article on any writer's 
desk, and at the same time serves as an excel- 
lent advertisement for the firm that sends it 

The American News Company ordered 
200,000 copies of the December Cosmopolitan ~ 
more than 100 tons of a single magazine. 




Vol. VII. 


No. 2. 



At Both Ends of thb Line. Jean Hali/eue 17 

Nkwspapbr English. H^ili Scott iS 

Cbrtain Inai.ibnablb Rights of Authors. R. Mac- 

Donald Alden 19 

EssBNTiALs of A Gooo MANUSCRIPT Rbadbr. Ella 

Stwrtevant W«bh ao 

A Hundred and Fifty (Rbcsnt English Words. 

H. A. Sckultr Ji 


Anothbr Bbcinnbr^s Litbrary Expbribncb. /. M. 

Lots a4 

Thb First Qualification for Authorship. Ed- 
ward L. IVhUt as 

Editorial. a6 

Complete Sets of Thb Author and Thb Writer. . a6 

A PuiA for Dialect. A, M.Jackson ^^ 

"You-UNS." Leojenteyl. 27 

QuERiRS a8 

The Scrap Basket aS 

Book Rrviews 39 

Helpful Hints and Sucgrstions. 30 

To Remove Enclosures in Pasteboard Rolls, 30 — 
Old Envelopes for New Manuscripts, 31 — To Save 

Manuscript Paper 31 

Literary Articles in Periodicals 31 

News and Notes 31 


I read the other day, in The Writer, of a 
man who had coolly papered the walls of his 
study-room with a varied assortment of his edi- 
torial **declined-with-thanks" slips. The idea 
is certainly original, and in these days a most 
economical one, for the average writer, at least. 
Until the long-delayed coming of the author's 
millennium there will probably be a goodly 
supply of such wall-paper. 

But why .so many rejections.^ It's the old, 
old question, and it is hard to answer in gen* 
eral; but in particular cases it is possible to 
find a reply. 

" Now, why was not my story of * On the 
Boulevard * accepted by the — , I should like 

to know ? *' ponders Miss A. at one end of the 

At the other end the editor had said regret- 
fully to himself, — as no one else happened to 
be present,— ** Why did this writer send a story 
of genuinely ' swell * life to us, when she must 
know that our aim is to make a study of and 
try to help the poorer class of people ? Other- 
wise, the story is cleverly written, and it is very 

Ah ! there was the rub ! As ** Manette," the 
maid, would say, the manuscript was not "ap- 

It is love that ** makes the world go round," 
we know; but if Miss A. had sent her next 
effort — a charming love story — to its proper 
destination, instead of to the religious weekly 
which she did ivy^ she would not have had the 
tale "returned with thanks." 

" There is nothing new under the sun," may 
be the criticism of some reader at this point. 
"We have heard all this many times before." 
Very true ; but truth will bear repetition. And 
simple as this statement i.s, it is the fact, never- 
theless, that many hundreds of manuscripts find 
their way, more or less promptly, back to their 
owners, for the reason of their unsuitability for 
the periodicals to which they are sent. 

"This story was surely comical enough. 
How the Wilsons laughed when I read it to 
them ! " He had chosen the goal carefully. It 
was a popular "comic" paper which had re- 
turned the manuscript "with regret." But the 
manuscript in question contained 900 words. 
That seemed to .Mr. B. exceedingly short. 
Had he studied the "comic" a little more 
thoroughly, however, he would have discovered 
the fact that no issue had ever contained an 
article or a story of more than 300 words. 

CoprHcHt. i%i. by Wii uam H. Hills. All rigftu^r ew ^td. 


The Writer. 

** Too long, by half," sighed the man at the 
ether end of the line. " No time at this office 
to boil it down, and he probably won't be wil- 
ling to cut it up. Let it go, Andrews." And 
it goes — home. 

" I read that paper for years. I know just 
the length and the class of stories it prefers. 
And why * Struggle and Strife ' comes flying 
back I fail to understand." 

And at the other end of the line the editor 
had parted with that manuscript with genuine 
regret. "Just the thing in some respects," he 

said. " But the way she pitches into the s ! 

She has very strong religious prejudices, evi- 
dently. She seems to think her hero's faith the 
only one. We*d have all our brethren buz- 
zing around our ears if we printed that. She's 
too sweeping in her statements. But it's a 
strong story " ; and regretfully he sends it home- 

** If I had time enough to rewrite this first 
page entirely, this story would be just what 
we'd like ; but I can't do it." So the Monthly 
News returned the manuscript without a word 
of explanation, — from necessity rather than 
from choice. And its owner wonders yet where 
the trouble lay. 

Editors of temperance papers will tell you 

that manuscripts have been sent to them whick 
were almost faultless. But why did that Miss 
D. let her hero smoke? The Temperanu 
Times sends the story home ; and Miss D. 
promptly tries again, elsewhere, and her manu- 
script is accepted. " They evidently don't know 
a good story when they see it," she thinks to 
herself, concerning the Times, And she for- 
gets her hero's cigar entirely. 

I had quite a list of other reasons, wise and 
otherwise. But I intend to practice what I 
preach — as regards long articles for periodi- 
cals which desire short manuscripts. So, 
" verbum sap,"*^ There must be some reason for a 
rejection. ( I wish to be as coolly, calmly, care- 
fully, conscientiously just to The Editor as I 
possibly can be. You see ! ) 

If it is not for one of the reasons already 
given, or for one that you yourself can easily 
find out, the rejection must be laid to the fact 
that the supply is greater than the demand, at 
present, at least. An editor cannot accept more 
manuscripts than he can use. And if he has a 
year or two's work provided for already, he may 
hesitate to keep all that comes to him. 

So let us forgive him ! 

yean Halifax. 

N«w York, N. Y. 


In the vernacular of reporters, information 
received clandestinely is generally a " tip," fire 
is the "devouring element," and electricity is 
the " subtle fluid." Each new book is ** epoch- 
making," and politicians are always " in touch " 
with somebody or something, and a lecturer in- 
variably " looks down upon a sea of up-turned 
faces," while everything of a surprising nature 
comes "like a thunderbolt from a clear sky." 
At a hanging, the murderer, rather than the 
s intence, is " executed," and the spectators 
wait with " bated breath " until the body falls 

with a " dull thud." " Ladies," who are, of 
course, " beautiful and accomplished," and who 
always have " a host of admiring friends," are at- 
tired in "stunning" garments, or sometimes are 
" magnificently gowned " ; and it would be only 
in keeping with the eternal fitness of things for 
the aforesaid reporters to be boldly " collared," 
soundly " cuffed," and vigorously ** booted." 
In the village daily a drunken man is always a 
"drunk," though fat people have not yet be- 
come " fats," or sick men " sicks." We read 
frequently that John Smith " Sundayed *' in 

The Writer. 


^own with his parents, but we are always left 
in doubt as to where John " Mondayed," 
*• Tuesdayed," "last weeked," or "Fourth-of- 


In newspaper diction things seldom happen; 
they "transpire." People are never married; 
^thej are " joined in the holy bonds of matri- 

mony." There is no such thing as suicide, but 
people commit "the rash act for which no 
cause has been assigned"; and death is not 
death, but merely the "demise" of the "de- 

Will Scott, 

Pbnfibld, Penn. 


In my dream I saw a mighty concourse of 
people, of all ages and conditions, pencils and 
artationery in their hands, and on their faces an 
expression of heroic determination. As I ap- 
proached and asked them who they were and 
whither they were bound, one replied : " We 
are delegates to the Continental Congress of 
Authors, called to protest against the violation 
-of our inalienable rights, and to draw up our 
Declaration of Independence." Then quoth I, 
"What are the inalienable rights of authors? " 
and he showed me a parchment whereon a list 
of them was written. They were too many to 
be mentioned here; but among them were 
these : — 

^We demand that, when our manuscripts 
■ are returned, only the first and last pages shall 
be crumpled beyond recognition. 

"We demand that editors* memoranda on 
the marein of our manuscripts shall not be 
made in indelible ink. 

" We demand that, when manuscripts are re- 
turned after a period of more than fifteen and a 
half years, the editor shall write on the envel- 
ope the words, * Postmaster, please forward.' 

" We demand that, when manuscripts are 
published without being acknowledged or paid 
for, the editors shall return us the stamps which 
were enclosed in case of rejection. 

" We demand that, when editors desire to add 
material to our contributions, they shall eive 
themselves credit for the addition over their 
own names. 

" We demand that, when editors desire to cut 
out portion.s of our articles before publication, 
-thev shall insert the word ' Mutilated * immedi- 
.ateiy under the title." 

There were other rights enumerated which 

were perhaps even more inalienable than these, 
but the last two of those quoted arrested my 
attention, and I should like to say a word in 
their behalf. Is it a reasonable demand that, 
when an author risks his reputation by the pub- 
lication of a manuscript over his own name, it 
shall appear without either additions or sub- 
tractions save those which may be necessary to 
correct errors ? For my own part, it is the right 
which I should maintain before that of pay- 
ment ; for if I am not paid, my purse alone will 
suffer, and not my appearance before the read- 
ing public. I believe this view can be defended 
by two or three incidents within my own ex- 

Most trying of all was an experience with an 
article in a children's magazine. I was pre- 
pared to recognize its deficiencies, but was con- 
siderably shocked by seeing that a half-column 
of it was entirely strange to me. The addition 
bore some slight connection with the rest of the 
article, but was in a style so entirely different 
from mine that the contrast would have been 
laughable if I had not been too vexed to laugh. 
I was furious, and wrote to the managing editor 
that if any one in his ofhce desired to make his 
fortune by the work of his pen, he would pro- 
ceed much better by writing over his own name 
than by inserting his efforts in the middle of my 
articles. The reply was mild and courteous, 
and reminded me how little I knew of the trials 
of a managing editor. There was a certain pic- 
ture, it appeared, which fitted on the page with 
my article so neatly and satisfactorily that the 



editorial authorities could not bear to dispense 
with it. As it was but remotely connected with 
my manuscript, the defect was remedied by the 
insertion of the extra half-column as a connect- 
ing link. I understood this perfectly, of course, 
but could not avoid the reflection that to have 
one's articles illustrated in such a roundabout 
way has its disadvantages. I am willing to write 
for a picture, or to have a picture made for my 
manuscript; but further than this I would not 

Turning to the matter of mutilations in manu- 
scripts, which is, of course, more common and at 
the same time more excusable, I have not yet 
recovered from the effects of a story which a 
well-known magazine published — in part. It 
happened that the forms were crowded at the 
last moment, and some one was evidently sent 
to dismember my poor little story, cutting out 
slices here and there with an indifference to 
sense so complete as to be positively dazzling. 
One paragraph had described a bit of landscape 
with a church in it, toward which the hero was 
supposed to be walking ; this was cut out, and 
the next sentence began, ** When he reached the 
church," etc, although there had appeared in 
print not the slightest intimation of the exist- 
ence of a church in the vicinity. Other pas- 
sages were equally satisfactory. In this case 
the editor, let it be granted, had the grace to 
apologize for the abuse ; but I wanted to tell 

him that, though I wa^ glad enough to have the- 
money he sent me, I would cheerfully have re- 
turned it with a trifle to boot, if my name 
could only have been removed from the chopped- 
up story which I have no wish to own. 

Time would fail me to tell in detail of an editor 
who published a poem based on an old legend, 
but omitted the verses containing the legend ; 
or of another who confined his corrections to 
punctuation, and inserted commas at pretty regu- 
lar intervals, apparently with a regard for typo- 
graphical symmetry rather than for the sense of 
the article he published. Doubtless all who 
have written for publication could bring their 
little " tales of woe " and lay them beside mine. 
Have our inalienable rights not been interfered 
with, even granting all sorts of privileges and 
immunities to our good friends the editors ? 

But there is another side ; and I believe that 
the fault is partly that of the authors. May not 
the ruthless hand of the mutilator be encour- 
aged by the fact that so many of us fill our 
work with sentences and paragraphs which can 
be omitted without loss to the reader or to any 
one else ? With this in mind, I have worded 
one of my New Year resolutions thus : " I will 
so write my manuscripts that no editor can 
scratch anything out of them without realizing 
that he has done actual damage to the article xtl 
his hands." J^. MacDonald Alden. 

Philadblphia, Penn. 


The high standard and literary excellence of 
any periodical depends largely upon the qualities 
possessed by its manuscript Readers — those 
arbiters of literary fate whom we mentally, and 
sometimes verbally, accuse of taking fiendish 
pleasure in ruthlessly mangling our choicest 
manuscripts, or in returning them to us unread. 

The long-suffering editor has a great deal of 
blara'e laid at his door that by rights belongs to 
the Readers in his employ. 

That there are Readers and Readers goes 
without saying. 

There are those who seem to think that it 
adds dignity to their position to hold a manu- 
script for several months, only to return it to 
the writer at last with some curt and uncalled- 
for criticism. A case in point comes to mind 
where an illustrated poem was returned to its 
author with the statement that the poem itself 
was nothing but doggerel, and the illustration 

The Writer. 


^t only for the columns of an advertising page. 
Criticism is a splendid cudgel for the aspiring 
author who really has talent, but people who 
•cannot write need to be dealt with more ten- 
derly than those who can, and it costs little to 
be kind and courteous. 

Then there are Readers who allow personal 
"friendship or animosity to govern their judg- 
ment. If the chief is a trifle careless, the 
friend's manuscript is apt to go in, with all its 
glaring defects, while the stranger writhes 
under the touch of a prejudiced blue pencil, and 
^ees his finest points blunted and twisted into 
every conceivable shape by the manuscript' 
Reader or the proof-reader. A noted writer 
says : " There is no defence against the proof- 

reader in his wild thirst for original spelling 
and novel effects." 

A good manuscript Reader never permits his 
judgment to be influenced except by the in- 
trinsic merit of the manuscript in hand. He 
must have a broad knowledge of many subjects, 
and especially those which pertain to different 
phases of human life ; he must be able to dis- 
cern the flne touches in all manuscripts that he 
handles. He should be always able to recog- 
nize excellence in style, polish, and good lit- 
erary form at a glance, and he should base his 
decisions alWays from a wholly disinterested 
standpoint. Such are the essentials of the 
Reader par excellence, 

Clkvkland, O. Ella Sturtevant Webb. 


A few years ago I had the honor to contrib- 
•ute to The Writer a list of words which I had 
gathered in the course of my daily readings, 
and which, not being found in what was then 
the latest edition of Webster's Unabridged 
Dictionary, I advised the readers of The 
Writer to look up in the new International, 
then just issued. Having meanwhile kept up 
the custom of noting such new words and new 
meanings as happen to draw my attention, I 
110W present another collection of words that are 
new in so far as the International does not con- 
tain them. How many of them are included in 
the Century Dictionary, or in the Standard Dic- 
tionary now being published by Funk & Wag- 
nails, or in any other modern English lexicon 
besides the International, I must leave the 
•reader to determine for himself. 

The whole number of words I have gathered 

is two hundred and forty. Wishing, however, 

to present only a definite number of good words, 

I begin a process of pruning by striking out 

l>arbarisms and slang terms, which, though some 

*of them are used by otherwise good writers, do 

not appear sufficiently respectable to stand in a 
general vocabulary of the language. The num- 
ber of these castaways is seventeen, and they 
are : Bigbug, borous, bullish, burglarize, corn- 
juice, daisy, don't-care-ative-ness, go-ahead-ive- 
ness, happify, healthery, lefthander, poker 
(delirium tremens), right-hander, specs, stick- 
to-it-ive-ness, suicide (verb), teacheral. 

I next exclude a longer list of special names 
applied to patent medicines and proprietary 
articles of food, drink, and household use. 
These words, partaking of the nature of proper 
nouns, and being but samples of scores of simi- 
lar terms that arise daily and often as quickly 
disappear, can scarcely be seriously considered 
by the lexicographer in making up his final list. 
I have collected thirty of them, as follows: 
Algosine, anacardine, anakesis, auburnine, bona 
dea, bovinine, brilliantine, brockaline, castoria, 
coleo, cottolene, cuticura, diastine, floraplexion, 
gelbite, germateur, gramila, granula, lycodine, 
maltase, massanetta, milk-shake, modene, nerva- 
line, nervura, angoline, pearline, pedine, phenyo- 
caffeine, rosaline, sapolio, soapine, sudsena^ 



wheatena. Some of these words, as anacardine, 
cuticura, angoline, are correctly formed, while 
others, as floraplexion, sudsena, wheatena, are 
undeniable barbarisms. 

To complete my pruning, I eliminate a still 
longer series of words, which are too rare, too 
recent, too self-explanatory, or else too uncer- 
tain in meaning and use to suit the present 
purpose. Of these I have: Alcophobia, Anti- 
Snapper, autoharp, balistite, biff, dattir, eikono- 
gen, electricide, electro-thanasia, enchantment 
(a game), exfratriation, femiculture, ferrosili- 
con, fluorcalcium, forespanker, gradgrinds, hero- 
phone, house-hunting, mealer, metagnostic, 
metagnosticism, miasma (a color ), mimeograph, 
operator ( telegraphist ), orimene, para-toluidine, 
pediatry or pediatrics, pous, prerolandic,scrimp- 
age or scrimpings. Snapper, tardieu, tipple, 
tournoi, trachoma, triton ( a color ), typoscribe, 
typescript, typoscripture, — thirty-nine. 

There now remain a hundred and fifty 
words of well defined meaning and seemingly 
well established use, which, in my judgment, 
the complete English dictionary of to-day should 
contain and explain. To attempt definitions 
here would swell this article much beyond its 
due length; I shall, however, classify these 
words, as I have previously done, under several 
convenient heads. 

Let me begin with the most fertile field of 
new terms, that of science and arts. From 
this I have gathered and retained forty-seven 
words : Actinomycosis, anti-fat, anti-kamnia, 
anti-rabic, appendicitis, apple-scab, biochemical, 
cataphoresis, cataphoric, codonophone, comp- 
tometer, ecrasite, electricize, electrocute, elec- 
trocution, fluorography, flyer, Graham flour, 
grammophone, hysophobia, intra-vesical, kelgum, 
kinetograph, kodak, linotype, lysophobia, mad- 
stone, melinite, nickel-in-the-slot machine, nona, 
obromine, orguinette, orthochromatic, pambu- 
tano, paratoloid, phenological, photoceramics, 
plastomcnite, saccharification, sloyd-work, spi- 
roplethe, stafif ( as used in building the " White 
City " ), telautograph, Texas fever, tuberculine, 
typogravure, unfreezable. Some of these words 
will be recognized as already familiar; others 
stand greatly in need of definition for the bene- 
fit of the general reader. 

From the domain of science we pass on to 

that of religion and philosophy. This yields usr- 
only sixteen terms, as follows: American 
Protestant Association, Christian science^ 
Christian scientist, credal, doctrinarily, Econo- 
mite. Evangelical Association, extracredaV 
Harmonist, Idealism, mind-reader, mind-read- 
ing, Oneida Community, Rappist, United 
Brethren in Christ, Zoarite. Such of these 
terms as designate religious denominations are 
by no means new, but they are not defined in 
the International, which, as before stated, is 
my authority in determining the newness of 

The field of business and social life has con- 
tributed twenty-five words to my collection. 
They are: Bridge-jumper, boomlet, combine 
(noun), dockman, dudine, fakir (a pedler), fire- 
guard (a protection against prairie fires), green- 
goods. Labor Day, life-saver, multi-millionaire, 
non-union, Pinkerton, quadro-centennial, shut- 
down, smashup, speakeasy, sooner (in Okla- 
homa, a settler who entered before the appointed, 
time), squaw man, test case, tie-up, tough 
( noun ), train-jumper, train-wrecker, wind-up. 

Of new terms relating to sports and games 
I have admitted only eight : Base-ballist^ 
caroussel, craps, mamooz, pigs-in-clover, pool- 
selling, tiddledy-winks, tricycler. This field is 
very productive of new words, but many of 
these are too slangy and short-lived for the lexi- 
cographer's notice. 

In the department of home politics I have 
collected thirty-one new terms and new mean- 
ings, most or all of which the reader will recog- 
nize as already familiar and not in need of 
definition. The list is as follows : Afro-Amer- 
ican, anti-machine, anti-monopoly, Anti-Poverty 
Society, anti-ring, Anti-Silverite, anti-trust, ap-^ 
portion, apportionment, Bellamyte, boodler, 
Councilmanic, Farmers* Alliance, Fusionist,. 
hold-over ( adjective ), Labor Party, Nationalism, 
Nationalist, People's Party, placeholder. Popu- 
list, reapportion, reapportionment, returning 
board, Silverite, single tax. Stalwart, Tammany- 
ite, tariff-monger. Union Labor Party, United 
Labor Party. The last two terms and Stalwart 
must be marked as already obsolescent or his- 

Foreign politics give us the following sevea 
words, most of which are taken from foreigiL 

The Writer. 

languages : Anti-Shemitic, berat, buffer state, 
Dreibund, RifBan, Rigsdag, Skuptschina. 

The remaining sixteen words I shall put 
under the heading "miscellaneous.** They 
are : A wink ( poetical ), blazer, boardwalk, cen- 
sus (verb), concededly, con sultory, dignifiedly, 
dotlet, executional, fin-de-si^cle, grid-iron 
(verb), happening (noun), house-moving, 
stormcoat, stupporn, tactful. 

No doubt this list of a hundred and fifty 
recent words might easily be increased, even 
doubled, by one who would make it his special 

purpose to hunt up new terms in the periodical 
and book literature of our day. No doubt, 
also, the classification here adopted might be 
improved upon. However, what is here pre- 
sented is sufficient to show that our language, 
as the living speech of a hundred millions of 
active, thinking people, is daily adopting new 
words and adapting old words to new ideas, and 
that the dictionary, like the newspaper, is daily 
growing old. 

H, A. Schulir. 

Allbntown, Penn. 


In an article upon George Michel, the painter 
of Montmartre, in the Century for November, 
1893, Virginia Vaughan says: "To a more de- 
liberate intellectual artist each ^ew work is an 
event, the record of a step which brings him 
nearer to his goal, of which he never loses 

This, it seems to me, would make a good 
motto for all writers who earnestly desire self- 
improvement and the uplifting of our national 
literature. America has not yet attained a high 
place in letters. Possibly she is still too young 
to be admitted to the elderly company of the 
East, but a close observer may find other 
causes for this than tenderness of age. How 
many of our writers are working for art*s sake ? 
It needs liitle more than a glance at current 
American literature to detect the absence of 
the "high seriousness " which makes classics. 
Do our writers set up a goal — a lofty standard 
of excellence — and make each new effort a 
serious step toward its attainment.'* Do we 
not rather have in view the ephemeral fitness 
of an article or a story for the pages of certain 
well-paying publications ? There are few Grays 
these times to labor three years on " An Elegy," 
and there are few poems written which are not 
their own epitaphs. Oliver Wendell Holmes 
is, indeed, " The Last Leaf " of a literary sum- 

mer when an American literature almost 

The competition of business has invaded let- 
ters. The magazines vie with each other in 
announcing attractive lists of contributors for 
ensuing volumes ; and the newspapers have 
captured illustrious names and advertise " Our 
new $10,000 story." Columns of literary notes 
are published, exciting literary aspirants with 
stories of the amounts which have been paid 
for popular tales and enumerating the editions 
into which they have run. But when have we 
seen it heralded that a story or a poem has ap- 
peared that will entitle America to a place in 
literature, and that bears the certain evidence 
of unselfish love for art and of being a distinct 
stride toward a goal ? 

In this spirit of mercantilism, we are in too 
great haste to print. We seem not to look be- 
yond the glory of print and a remunerative 
strip of paper. Shall some future critic have 
just occasion to write that our characteristic 
impatience was what prevented the making of 
a national literature.'* It ^^j require Job-like 
patience, sublime self-denial, and courage to 
labor upon one article, or story, or poem, se- 
lected, possibly from a wealth of ideas, as leadr 
ing most directly to a high goal, while the 
writings of others are being printed, and talked 


The Writer. 

about, and paid for, — all for pure love of the art. 

In these days of making literature a profes- 
sion one is compelled to forego the self-satisfac- 
tion of doing the best for art's sake. We seem 
to be forced to write according to the demand. 
How many are honestly striving to elevate the 
standard of this supposed demand? Surely 
there are themes of paramount interest, pow- 
erful emotions pulsating American life, which 
are ready for the effort of the true artist for art's 
sake, and which, if treated in a true literary 
manner, — not the affected, traditional sense of 
literature, but in a broad, progressive, earnest, 
artistic manner, — would make us a national 

There is no reason why the writer who does 
his work from pure love of his art should be a 
dreamer. He can toil on in as practical a way 

as in any other pursuit. The most useful in- 
ventions have been made only through years of 
experiment, and often of sacrifice. A novel, a 
poem, or a play that will become an American 
classic cannot be dashed off and hustled into 
print, any more than a sewing machine or a 
locomotive can be devised in a day. Shall it 
be said that in all our broad land there are no 
disinterested lovers of the most enduring of 
all arts? Possibly in some luxurious library 
or some uncarpeted attic there is a "mute, 
inglorious Milton,'' and a generous public is 
waiting for him to burst the bonds of his 
obscurity. And if his work have the undying 
quality, the startling discovery will be made 
that the demand has been adapting itself to the 
supply, rather than the reverse. 

Harrisburg, Penn. H. Af, Hoke. 


My first attempt at writing took the form of a 
novel. When I had reached the five hundred 
and sixtieth page I was interrupted in my work, 
and I did not see the manuscript again for a year. 
At the end of that time I read it over. It was 
not at all satisfactory, and with a good deal of 
disgust for my ornate and elaborate style of the 
previous year, I rewrote it. A liberal prun- 
ing soon reduced the manuscript to one hundred 
pages, and I found that I had inadvertently cut 
out all my love-scenes, sacrificed my hero, and 
left my heroine as a mere figure-head, to give 
point to the adventures of a picnic party. I 
then put the manuscript away, and at the end of 
several months read it once more. It struck 
me as still being too long, so I further reduced 
it, and after writing it out three or four times, 
finally condensed it into twenty pages of manu- 
script. On the whole I thought it pretty good, 
and determined to let the reading public have 
the benefit of it, so naming it ** A Picnic Party," 
I sent it off to a local journal. 

In about two months it came back to me with 
the following note : — 

Dbar Sir : — 

I beg to return enclosed manuscript. It i» in my opinion 
very cleverly written, but too long for the pages of the OracU. 
Could you not try your hand on short society bits for as ? I 
think '* A Picnic Party " might find acceptance with the Past 
or Sunny Hours. Yours, etc., 

Editor of thb OracU. 

1 never received any letter that gave me more 
pleasure. The " very cleverly written " was 
incense to my soul. I immediately acted on 
the suggestion made, despatched "A Picnic 
Party" to the Post, and devoted my time to 
writing society bits, " mere pot-boilers," I told 
myself. I composed a great many of them, but 
the editor of the Oracle never said that the 
pot-boilers were cleverly written, although I 
endeavored to please him with humorous and 
satirical sketches in the character of a small boy, 
an old maid, a farmer, a man-about-town, and a 
philosopher. I can't say how many stamps the 
society bits cost me, or how long it was before 

The Writer. 


onejof them was accepted. In the mean while 
"A Picnic Party" came back again, with an- 
other very polite note stating that the "Editor 
of the -P^j/ regretted that he could not negotiate 
for ' A Picnic Party,' as the Post was not at 
present paying for outside contributions." 

I next tried Sunny Hours. This magazine 
also returned the manuscript. On the back 
of it was scribbled in blue pencil : — 

Sketch fairly well written, but punctuation bad. — Editor 
Sunny Hours. 

This necessitated a fresh copy, which having 
been carefully made, with all the improvements 
in punctuation that I could think of, I sent it to 
one of the large magazines. In due time it 
came back to me as before with *' Too late for 
this season," written on a piece of note-paper. 
Believing that time was made for slaves, and 
that in all likelihood another summer would have 
arrived before the manuscript was returned, I 
posted the article again. It reached me a little 
sooner than usual, with a printed refusal, with 
the words, " Non-acceptance does not necessarily 
imply lack of merit," underlined in red pencil. 

I don't like printed refusals, but the under- 
lined words were a little balm to me, although 
riper experience inclines me to doubt if they 
were so marked for my special benefit. 

At the next editorial door I approached I was 
informed that they •* had enough sketches of 
the kind to last for three years." 

I began to realize that the literary market 
must be glutted, but feeling it a pity that " a 
•cleverly written article " should be lost to the 
world, I sent it out three or four times more, its 

many travels obliging me to take several fresh 
copies, and leaving me heartily tired of the 
thing. At last I decided to be generous, and 
wrote to the editor of the Post^ reminding him 
of his first letter, and said he could have " A 
Picnic Party" without paying for it if he wished. 
He accepted my offer, and two months later I 
was in print. Truth compels me to add that 
the magazine that had the temerity to print 
my maiden effort collapsed shortly afterwards, 
although I am naturally disinclined to believe 
that my innocent little sketch was entirely re- 
sponsible for the fact, especially as shortly after- 
ward a humorous paper used one of my " society 

I had written a great many articles for a 
certain paper before I dared to suggest that 
"what was worth printing was worth paying 
for," but to show that these demands, when 
reasonably made, are responded to by editors 
that have souls, I wish to say that my editor 
replied at once to my hint. In answer to my 
letter he sent me, by return mail, a nice, new, 
crisp one-dollar bill — full payment for an article 
that had taken me a week to write. 

I felt snubbed. 

A dozen rejected manuscripts couldn't have 
humbled me as that dollar did, but it was cer- 
tainly not the fault of the editor. What possi- 
ble concern could it be to him, that a pen in the 
halting hand of a novice took an entire week for 
writing what should have been done in a couple 
of hours ? 

y. Af. Loes. 

Port Hope, Ont. 


If I were asked, " What is the first qualifica- 
tion for success in authorship?" I should say 
promptly, " Common sense." A writer may 
have genius, literary talent, education, industry, 
and all the other literary virtues, but if he does 

not have common sense along with the rest, he 
is sure to be more or less a failure. Common 
sense alone will not win success in authorship ; 
but it is the first and most important requisite. 
Brooklyn, N. Y. Edward L. IVkiU, 


The Writer. 

The Writer. 

Published monthly by The Writer Publishing Company, aSa 
Washington street. Rooms q and lo, Boston, Mass. 

WILLIAM U, HILLS, . . . Editor. 

•«*Thb Writer is published the first day of every month. 
It will be sent, post-paid, Onb Ybar for Onb Dollar. 

%* All drafts and money orders should be made payable to 
The Writer Pub'ishing Co. Stamps, or local checks, should 
not be sent in payment for subscriptions. 

%*Thb Writbr will be sent only to those who have paid for 
it in advance. Accounts cannot be opened for subscriptions, 
and names will not be entered on the list unless the subscription 
order b atccompanied by a remittance. When subscriptions ex- 
pire the names of subscribers will be taken off the list unless an 
order for renewal, atccompanied by remittance, is received. Due 
notice will be given to every subscriber of the expiration of his 

%* No sample copies of Thb Writbr will be sent free. 

VThe American News Company, of New York, and the 
New England News Company, of Boston, and their branches, 
are wholesale agents for Thb Writbr. It may be ordered 
from any newsdealer, or direct, by mail, from the publisher. 

%* Everything that may be printed in the magazine will be 
written expressly for it. 

%* Not one line of paud advertisement will be printed in Thb 
Writbr outside of the advertbing pages. 

%* Advertising rates will be sent on request. 

*«* Contributions not used will be returned, if a stamped and 
addressed envelope is enclosed. 


28a Washington Street ( Rooms 9 and 10), 

( P. O. Box 1905. ) Boston, Mass. 

Vol. VII. February, 1894. No. 2. 

Short, practical articles on any topic con- 
nected with literary work are always wanted 
for The Writer. Literary people are invited 
especially to send in suggestions for the " Help- 
ful Hints" department, and items of information 
about any literary work on which they may be 
engaged. The chief object of The Writer is 
to be a magazine of mutual help for authors, 
and its pages are always open for anything 
practical which may tend in this direction. 
Bits of personal experience, suggestions regard- 
ing methods, and ideas for making literary 
work easier or more profitable are especially 
desired. Articles must be short, because the 
magazine is small. 

The sixth bound volume of The Writer, 
with full index and title-page, is now ready for 

delivery. It contains more than 230 pages, and 
is neatly bound in cloth, in style uniform with 
the preceding volumes. A complete set of 
bound volumes of The Writer is something 
that no writer's library should be without. 
Nowhere else can be found so many practical^ 
helpful articles and suggestions regarding the 
best and most profitable methods of literary- 
work. It will not be possible always to secure 
a complete bound set of The Writer, for the 
supply of some of the volumes is so small that 
already the price of single volumes has been 
advanced, and the supply is sure to be ex- 
hausted at no distant day. Those who would 
like complete sets of the magazine, therefore^ 
will do well to send in their orders now. The 
purchase of a set will be a good investment, for 
complete sets of the magazine are sure to in- 
crease in value as the years go by. 

• •• 

The price of Vol. VI. of The Writer^ 
for 1892-93, is $1.50. The price of a complete 
bound set of the six volumes of the magazine 
w^ill be for the present Nine Dollars, or, with a 
subscription for The Writer for 1894 added. 
Ten Dollars. No better present could be given 
to any literary worker. The prices of volumes 
of The Writer ordered singly are: Vol. L 
(1887), $2.00; Vol. II. ( 1888), $1.50; Vol. III. 
(1889), $2.00; Vol. IV. (1890), $1.50; Vol. V. 
( 1 891 ), $1.50; Vol. VI. ( 1891-92), $1.50. Those 
who desire to complete their sets should send 
their orders now, before it is too late. 


A few complete sets of The Author — 
which was merged with The Writer at the 
beginning of 1892 — may still be had. They 
comprise the three bound volumes for 1889, 
1890, and 1 891, which will be sold separately 
for Two Dollars each, or together for Five 
Dollars. These volumes of The Author con- 
tain a fund of information about authors and 
literary work to be obtained nowhere else, and, 
like the volumes of The Writer, they are sure 
to be enhanced in value as time goes on. The 
number of complete sets available is compara- 
tively small. 

• •• 

What better investment can any writer make 
than to spend fifteen dollars for a complete set 

The Writer. 


of the bound volumes of The Writer and 
The Author, together with a subscription for 
Thb Writer for 1894, — either for himself or 
as a useful present to a literary friend? 

iV« H* n« 


Having read Mrs. Denison's article in the 
January Writer, and being also "saturated 
with dialect," I beg leave to say a few words 
from another point of view. 

Why, may 1 ask, should one become so steeped 
in dialect that one feels like " letting go all the 
niceties of grammar and rhetoric," niceties in- 
herent and acquired, any more than one would 
feel constrained to let go the eighth command- 
ment after reading the adventures of a thief? 
How can it be in any sense refreshing to "get 
out of the common routine, and say * naw ' for 
no"? Wouldn't it be as refreshing and sug- 
gest just as ** delightfully lazy " an existence to 
forego one*s bath for a month, because of a 
certain hero, who proved that a man might be a 
" man for aMhat " ? 

The dialect story is vastly instructive and 
entertaining, whether it suggests new words and 
phrases that are apt and striking, or impales in 
cold type the mistakes which long familiarity 
has led us to condone. Said one intelligent 
young person who had had but meagre educa- 
tional advantages, " I always mispronounced 
•creek,* and never knew I was wrong until I 
taw it spelled * crick * in a dialect story." There 
is a fascination in "chasing verbal monstrosi- 
ties to their lair " ; and what a subtle charm has 
a peculiar pronounciation upon lips polite ! The 
conversation of my little Southern cousin, who 
habitually and unconsciously slurs her r's, is a 
perpetual delight. 

In the assembly room of the Woman's Build- 
ing last summer, the Countess of Al>erdeen, in 
a clear, thrilling voicr, spoke so earnestly, so 
winningly, in the interests of ** my gclls," that 
one at least in that vast audience conceived a 
lasting admiration for the great lady who was 
so sweetly human. 

That dialect is a power when deftly used no 
one can deny. Whole pages of description will 
not give so deep an insight into a human heart. 

or conjure up so vivid a picture of stokdlty^ 
brutality, or ignorance, of self-sacrifice, simple 
faith, or divine tenderness, as will the terse, 
rugged sentences, ungrammatical, unrhetorical, 
though they be : — 

" Homely phrases, bat each letter 
Full of hope, and yet of heartbreak ; 
Full of all the tender patho* 
Of the Here and the Hereafter." 

Surely our literature is deep enough and 
broad enough to admit the dialect story on an 
equality with the "sweet, simple English of 
Irving, and the straightforward, robust style of 
Scott." A. Af. Jackson. 

McAlbvv's Fokt, Peon. 



Please kindly inform Mary A. Denison, 
through the pages of The Writer, that she is 
very much mistaken, not to say unjust, in as- 
serting that some one heard " youuns " uttered 
" down in Louisiana," unless the expression 
was used only as a quotation. 

I was bom "down in Louisiana," spending 
my early childhood in the southern portion, and 
the past eighteen years in the northern part, 
embracing three different parishes, and never 
have 1 heard a native Louisianian, either black 
or white, say •* youuns." A Georgian, who 
lived in tins town several years ago, once ad- 
mitted that he had heard the phrase used by the 
illiterate of his state. 

Accusing Louisianians of using vernacular 
peculiar to another state, simply because both 
are Southern, is as bad as saying that American 
women are noted for their discordant voices, 
when I venture to say that no other women in 
the universe have softer or more melodious 
voices in conversation than the women of the 
South ; while the difference between the voice 
of a Southern and a Northern woman is suffi- 
ciently marked to enable a Southerner, blind- 
folded, to select either one you designate as 
soon as she speaks. 

We Louisianians suffer enough from melted 
snow and ice coming down upon us from the 
Northern country, without the added injury of a 
shower of Northern ink, following the lead of 
such parasites as Cable and one or two others. 



I could name, smirching what the overflow can- 
not wipe out. Leo yenwyL 

Tallulah, La. 


I wish to have a book for small children 
published. It treats principally of animals, 
written in the form of a story. 

(i.) Where would you advise me to have 
such a book published ? 

( 2. ) What would you think to be the best 
plan for a beginner in book-writing to follow ? 
Sell the manuscript ? 

(3.) I should like a few illustrations in it. 
Do the publishers, or does the writer, attend to 

( 4. ) What size paper is it best to use ? and 
liow is it best to send the manuscript, folded or 
rolled .? 

You find, from these questions, that this is 
iny first attempt at book-writing, though I have 
had several articles accepted by papers. 

T. B. R. 

[ ( I. ) No one can give any advice worth 
having regarding publishers to whom it may 
l)e best to submit a given manuscript without 
£rst examining the manuscript. In a general 
way, a list of publishers who have issued works 
of the same class as that described might be 
given, but probably more money would be ex- 
pended for postage in using the list than The 
Writer*s Literary Bureau would charge for 
•examining the manuscript and giving the opin- 
ion of an expert as to what publishers would 
be most likely to want to issue it. It is gen- 
erally economy for an inexperienced writer to 
pay the reading fee of The Writer's Literary 
Bureau, since by so doing he is likely to save 
in postage more than the cost of the advice he 

( 2. ) A beginner in book writing is fortunate 
generally, if he can get his book published on 
any terms, excepting at his own expense, — 
•cither by selling the manuscript outright or on 
a royalty arrangement. 

( 3. ) The publisher of a book generally 
provides for illustrations, the author, of course, 
furnishing the requisite material, if desired. 

( 4. ) For a book manuscript it is best to use 
paper about 8x 10 inches in size, single sheets, 
numbered consecutively at the top from title- 
page to ** finis. " No manuscript should ever 

be rolled, under any circumstances. A book 
manuscript should be sent flat, tied between 
two pieces of* stiff pasteboard cut to the size of 
the paper, and wrapped in strong brown paper. 
"T. B. R." will find many helpful suggestions 
in back numbers of The Writer, and in 
Luce's " Writing for the Press " ( $1.00 ), which 
the Writer Publishing Company will send, post- 
paid, on receipt of price. — w. H. H. ] 

1 see that in your November issue you give 
a rather unfavorable notice of Price's "Tech- 
nique of the Drama." Will you kindly mention 
some books written in English which you 
think would be more helpful to a possible drar 
matic author? E. H. H. 

[ The most practical and helpful book for the 
student of dramatic composition is "The Art 
of Playwriting," by Alfred Hennequin. The 
Writer Publishing Company will send a copy, 
post-paid, on receipt of the publishers' price, 
$1.00. Price's "Technique of the Drama" is 
well worth studying, although it has the faults 
that were pointed out in the review in the No- 
vember Writer. In spite of its defects, it 
contains many useful suggestions for the play- 
wright. A few important practical hints are 
given also in William H. Crane's article, "Play- 
writing from the Actor's Point of View," in the 
North American Review for September, which 
The Writer Publishing Company will send on 
receipt of fifty cents. — w. h. h.] 


In the prospectus of a literary paper recently 
sent to me, it is stated that the periodical in ques- 
tion " is edited with a single eye to the encour- 
agement of good literature." If a "full pair" 
of eyes cannot be employed in this work, would 
it not be as well to speak of " an eye single " to 
the good cause ? Br in ton W. Woodward. 

Lawrbncr, Kan. 

It may be of interest to the readers of The 
Writer to know that the walls of the office of 
the Department of Promotion and Publicity, in 
the Administration Building at the Columbian 
Exposition, were papered with the different 
journals of the world. Quite artististic was the 
result, too, the illustrated papers being grouped 

The Writer. 


together, and a frieze and a dado being arranged, 
with foreign languages and English mixed in 
most-admired disorder. A. M. G. 

Oak Park, 111. 

Using editorial " declined-with-thanks" slips 
as study wall paper is a good scheme, but I will 
tell you what I am going to do : I am saving all 
of such slips, and when editors are bowing in 
the dust before me, begging the honor of ob- 
taining my copy, I will write my best work on 
the backs of those now dispiriting communica- 
tions. I expect to have enough for the purpose 
by that time. c. D. j. 




King's Handbook of Nbw Yo«k City. An Outline His- 
tory of the American Metropolis Edited by Moses King ^ 
Second Edition. i,oo8 pp. Cloth, $2.00. Boston: Moses 
King. 1893. 

Just to look at the pictures in "King's Hand- 
book of New York City " is almost as good as 
a visit to New York. There are more than 
1,000 of them in the book, and ihey are all half- 
tone reproductions of excellent photographs, 
taken expressly for this work. They give an 
absolutely faithful idea of New York City as it 
is to-day, even to picturing accurately the 
throngs of people as they move about the 
streets; for as the photographs are instantane- 
ous, most of them are full of life. Without 
going to New York, then, by the aid of Mr. 
King's admirable book, one can get to know 
the metropolis almost as well as the average 
New Yorker does — even better, in some re- 
spects, for the text gives accurate information 
about the city in general, and about every 
object of interest in it, that even well-informed 
New Yorkers generally do not possess. The 
text of the book is as good as the pictures, and 
that is saying a great deal. It has been written 
by many individuals, chief among whom was 
M. F. Sweetser, and their manuscript has 
undergone revision at the hands of several 
thousand people, each an authority on the por- 
tion submitted to him. Accuracy has thus 
been assured, and the volume has been brought 
absolutely up to date in all respects. Finally, 
to make the book complete, there is an index of 
twenty-four pages, containing 20,000 references, 
so that every item of information in the work is 
made instantly accessible. Altogether this 
handbook justifies the claim made in the preface 
to the Second edition, that it is "the hand- 
somest, the most thorough, the largest, the 
most costly, and the most profusely illustrated 
book of its class ever issued for any city in the 
world." Its success has been extraordinary. 

The first edition of 10,000 copies was exhausted 
in ten months. This second edition is practi- 
cally a new book, nearly every text page having 
been rewritten and reset, and about 300 new 
engravings having been inserted. Every editor 
and writer in the country needs to have a copy 
of the book for reference. It contains every- 
thing about New York tktat any one could want 
to know. w. H. H. 

Vick's Floral Guidb for 1894. iia pp. Paper, 10 cents. 
Rochester, N. Y. : James Vick't Sons. 1894. 

An annual publication which is watched for 
with interest every year by lovers of flowers 
and horticulture is " Vick's Floral Guide," the 
1894 number of which has just appeared. The 
new book is an improvement on the issues of 
previous years. The cover design is an at- 
tractive one, with a gold background, on which 
is printed in colors a fine bunch of Vick's new 
white branching aster, which when cut re- 
sembles the chrysanthemum so closely that 
only experts can tell the difference. It comes 
into flower six weeks before the chrysanthe- 
mum, and can easily be grown out of doors, 
and the seeds cost only twenty-five cents a 
packet. On the back of the cover is a picture 
of the new double anemone, another attractive 
novelty. The "Guide," as usual, is full of infor- 
mation about seeds and flower-growing. Its 
price, by the way, is deducted from the cost of 
the first order for seeds received from the pur- 
chaser. To editors the publishers make special 
offers of prizes of $125, $75, $50, $25, $15, and 
$10 for the best double-column advertisement 
of from four to eight inches, and of $50, $25, 
$15, and $10 for the best single-column adver- 
tisement of from five to nine inches submitted 
in print in some regular publication before 
March lo, 1894. w. h. h. 

Sir Francis Bacx)n's Ciphbr Story. Discovered and de- 
ciphered by Orville W. Owen, M. D. 198 pp. Paper,. 
50 cents. Detroit : Howard Publishing Company. 1893. 

Dr. Owen asserts, and says that he has proved, 
that Bacon was the author, not only of the plays 
credited to Shakespeare, but those also of 
George Peele, Christopher Marlowe, and Rob- 
ert Greene, and of the works of Burton and 
Spenser. Not only is this so. Dr. Owen savs, 
but in all these works Bacon included, \y 
means of a cipher, secret histories, including 
the story of his own life, a translation of a con- 
siderable part of Homer's " Iliad," and a gen- 
eral history of England. According to this 
cipher writing. Bacon was the son of Queen 
Elizabeth and the Earl of Leicester by a secret 
marriage ; he tells how Essex, his dearest 
friend, was murdered at the command of the 
queen, and how Elizabeth was strangled in her 
bed by Robert Cecil, and relates other startling 
occurrences not set down in ordinary history^ 
Dr. Owen avers that, having discoverea the exis- 
tence of the cipher, he followed Bacon's direc- 


The Writer. 

tions, and, dissecting a folio Shakespeare and 
other works, placed the pages on a great wheel 
to facilitate the work of thousands of shiftings 
from passage to passage and from page to page. 
As a result, he has written out, and is to publish, 
several parts of Bacon's secret work, the first 
book being that now before the public. After 
all this work has been c^^mpleted, the key to the 
cipher and the story of its discovery by Dr. 
Owen are to be given in a final volume. Until 
that is done, the ordinary reader will be in 
doubt, probably, whether Dr. Owen is a ro- 
mancer, a lunatic, or an immortal discoverer. 
There is nothing in the book already published 
that could not have been written iSy any ordi- 
nary penny-a-liner. It does not seem reason- 
able that a man having the transcendent ability 
required to write all the works which Dr. Owen 
says Bacon did write, in addition to those that 
he is known to have written, should have taken 
the trouble to set down in a most difficult cipher 
such a dull and wordy work as the first section 
of "Sir Francis Bacon's Cipher Story." Dr. 
Owen declares that from first to last he has not 
added or subtracted a word in putting on paper 
Bacon's story as it came to him in the cipher, 
so. that, if he tells the truth. Bacon must be 
blamed for the lack of literary merit in the 
recital. Until the decipherer shows the public 
the process of deciphering, however, so that 
people may judge for themselves whether the 
work is his or Bacon's, it is only right and mer- 
ciful that Sir Francis should be given all the 
benefit of the doubt. w. h. h. 

Lbttbks or Travbl. By Phillips Brooks. Edited by M. F. 
B. 386pp. Qoth, $2.00. New York: £. P. Dutton & 
Co. 1893. 

These letters of travel of the late Bishop 
Brooks show the great preacher in a new light. 
They have been selected from his correspond- 
ence with members of his family, and relate to 
two journeys, of more than a year in duration, 
taken in 1865-66 and in 1882-83, respectively, — 
the former when he was rector of the Church 
of the Holy Trinity, Philadelphia, the latter 
when he was rector of Trinity Church, Boston, 
— and to shorter summer trips, generally of 
about three months in duration. As the pref- 
ace says, " these letters of travel give an im- 
portant chapter of his life that was always of 
the greatest delight to him, and in which are 
represented many of his most striking personal 
characteristics. . . . The letters retain the fa- 
miliar character which belonged to them as be- 
ing intended for the members of his ownfamilv, 
and they are thus enabled to convey not only 
.an interesting story of travel, but also some- 
thing of that personal charm, and ready wit, 
and genial appreciation which those who were 
mearest to him loved so well. In all these 
.letters his nature will be seen in its sunniest 

and most playful mood." The publishers ba¥« 
issued the volume in a most attractive form. 
It is sure to be a source of delight to every 
reader and it is throughout a model in the art 
of familiar letter-writing. w. H. H. 

Baby^s Kingdom. Wherein may be chronicled as memoilet 
for grown-up days the mother's story of the progress of th« 
babv. Designed and illustrated by Annie F. Cox. FoU gilt 
doth. $3.75. Boston : Lee & Shepard. 1893. 

" Baby's Kingdom" is a very handsome and 
attractive book to start with, and when it is 
properly filled out, it is sure to be the most 
interesting book in any mother's library. The 
idea of a specially prepared book in which a 
mother may keep a record of the events of a 
baby's life is a very happy one, and such a 
book, well-kept, is sure both to give pleasure to 
the parents of the baby whose history is recalled 
and to the baby also in after years. " Baby's 
Kingdom " is well planned, and in every way 
admirably adapted to its purpose. Suitable 
blanks are provided for recording the date of 
birth, gifts, the baby's weight at birth and at 
the end of each month for the first year, the 
christening, the baby's name, the baby's picture, 
the baby's first tooth, first words, first birthday, 
first step, first Christmas, Christmas gifts, etc., 
while there are plenty of blank leaves for a com- 
plete record of important happenings. The 
designing in the book is artistic, and the illus- 
trative quotations :ire appropriate and interest- 
ing. Altogether, *' Baby's Kingdom " is a model 
book of its kind, and any mother will be fortu- 
nate who becomes possessor of a copy. 

Yf • H. H. 

Sabbath Homhs. Thoughts by Liebman Adler. 338 pp. 
Cloth. Philadelphia. The Jewish Publicatioa Sodetj of 
America. 1893. 

'* Sabbath Homes" contains fifty-four ser- 
mons, one for each Sabbath in the year, with 
two additional for leap years, all culled from 
German sermons on texts from the Pentateuch 
published by the late Rabbi Liebman Adler, of 
Chicago. A sketch of the rabbi and an excep- 
tionally fine frontispiece portrait of him are 
included in the volume. w. h. h. 


To Remove Enclosures in Pasteboard 
Rolls. — Few people seem to understand the 
best way of removing a picture from a paste- 
board mailing tube. If the tube is slit opeA 
with a sharp knife, it cannot be used again, and 
the picture inside is likely to be cut. The best 
plan is, not to tear or cut the pasteboard, but to 
insert the thumb and one or two fingers into it 
so as to touch the contents on all sides ; then 
to give a slight twist in ike directioH in which 

The Writer. 


4iu object is rolled^ which will loosen it, and 
•enable it to be withdrawn. Any attempt to drag 
or push it out without such a twist will only 
tear it and make it hold tighter. Pasteboard 
rolls are very useful for mailing unmounted 
photographs or drawings accompanying manu- 
scripts. The manuscripts themselves, however, 
should never be mailed in them, or rolled in any 
way. w. H. H. 

Boston, Mass. 

Old Envelopes for New Manuscripts. — I 
^d envelopes that advertisements come in 
better than " F. E. M.'s " tablet covers for keep- 
ing loose leaves of manuscripts in order. 

Loal«ana. ^ C. D. J. 

To Save Manuscript Paper. — I am de- 
lighted with a plan I have just adopted to save 
manuscript paper. I rewrite so much that I 
find that economy is necessary. I save all the 
blank white paper that I can, such as backs of 
letters, circulars, weather reports, etc., and, cut- 
ting them to convenient size, stitch with sewing 
machine across the top into packages of from 
ten to fifteen sheets. On these I write my first 
drafts;, and thus avoid the trouble of numbering 
them as I go, and they are warranted to keep 
together with any amount of careless handling. 

Looisiana. C. D. J. 


[The pnblisher of Thb Writbr will send to any address a 
copy of any magazioe mentioned in the following reference list 
on receipt of the price given in parenthesis following the name. 
Readers who send to the publishers of the periodicals indexed 
for copies containing the articles mentioned in the list will con- 
fer a favor if they will mention Thb Writbr when they write. 

Thb Russian Pbriodical Prbss. Victor Yarros. Chaw 
iaaiftiaM (,2$ c. ) for February. 

WoMBi* IN Washington as Nbwspapbr Corrbspond- 
bnts. Cynthi& E. Cleveland. CAa«i!aM/Ma« (25 c. ) for Feb- 

From Litbraturb to Music. B. J. Lang. AilatUic 
< 35 c ) for February. 

Thb Educational Law op Rbading and Writing. 
Horace E. Scudder. Atlantic ( 35 c. ) for February. 

English Litbraturb of thb Victorian Agb. Frederic 
Harrison. Forum ( 25 c. ) for February. 

LouiSB Chandlbr Moulton. With portrait. LUtrary 
Wtekly ( 10 c ) for January 18. 

Woman in Journalism. Mrs. Frank Leslie. LiUraty 
Wttkly ( 10 c ) for January 18. 

PRorsssoR JowBTT. Reprinted from Tem/U Bar va Lii- 
MlTt Lming^ Ag€ (18 c.) for January 6. 

David Starr Jordan. With portrait. Protaesor M. B. 
Anderson. Popular Science Monthly ( 50 c. ) for February. 

Small Papers for Amateurs and Others. Priniart^ 
Ivh ( 10 c. ) for January 24. 

On Certain Tendencies in American Litbraturb. 
Walter Blackburn Harte. Worthinglfin's Magazifte ( 25 a ) 
for February. 

Some Notes on thb Illuminated Books op thb Mid* 
dle Ages. William Morris. Illustrated. Magazine qf Art 
( 35 c. ) for February. 

How Great Newspapers Arb Printed. Isabel Ames. 
Illustrated. Demoresi's Family Magazine ( 20 c. ) for Feb- 

Professor Tyndall. Illustrated. DemoresCe Famifgt 
Magazine ( 20 c. ) for Februiuy. 

The Lowell Memorial in Westminster Abbey. Ad- 
dress of Leslie Stephen at the unveiling in the chapter-house, 
November 26, 1893. Harper* s IVeekly ( 10 c. ) for January 6. 

Mrs. Emma D. E. N. Southworth. With portrait. Chi- 
cago Graphic ( 10 c. ) for January 6. 

Hbnrik Idsbn. With portrait. Chicago Graphic ( 10 c. ) 
for January 13. 

Susan Elston Wallace. Mary H. Krout. Heurper't 
Bazar ( 10 c. ) for January 13. 

My Literary Passions. William D. Howells. Ladies^ 
Home Journal ( 10 c. ) for February. 

The Scien'ce and the Art of Dramatic Expression. 
Alice Wellington Rollins. LippincotCs (25 c. ) for February. 

Have Young Writers a Chance? Lippincotft (25c) 
for February. 

Robert Lowe as a Journalist. A. Patchett Martin. 
Reprinted from National Review in LitielVs Living Age 
( 18 c. ) for January 20. 

The Cradle of the Lake Poets. William Connor 
Sydney. Reprinted from Blackwood's Magazine in LUieWe 
Living Age ( 18 c. ) for January 20. 

Matthew Arnold. Leslie Stephen. Reprinted from 
National Review in LitteWt Living Age (18 c.) for Janu- 
ary 13. 

An English Dictionary op thb Days of King Jambs 
THE First. Reprinted from Leisure Hour in LitteWs Living 
Age ( t8 c. ) for January 13. 

F. H. Underwood. With portrait. Literary Weekly 
( to c ) for January 1 1. 

Edward Bellamy. With portrait. Literary Weekly 
( 10 c. ) for January 4. 

Mrs. Isabel A. Mallon ( " Bab '' ). With portrait 
Journalist ( 10 c ) for January ao. 

How Not to Succeed as a Writbr. Annie Isabel 
Willis. Journalist ( 10 c. ) for January 20. 

Mrs. Lydia Hoyt Farmer. Charles Ritch J<du>soa. 
Journalist ( 10 c. ) for January 20. 


The twenty-second short-story prize offer 
made by the editor of Short Stories is of $50, 
$30, and $20, respectively, for the three " best 
stories," irrespective of subject, sent in before 
March i, 1894. 

The name of the Weekly youmalist of Bos* 
ton has been chan>;ed to the Literary Weekly, 


THE Writer. 

The Arena (Boston) hereafter will contain 
monthly 144 pages instead of 128, making it the 
largest monthly review published. The Febru- 
ary number contains 164 pages. 

Dr. Holmes has a poem in memory of Francis 
Parkman in the February Atlantic, 

Book sales in Chicago are said to amount to 
$3,000,000 a year. 

Babyhood {^t^ York) is one of the few peri- 
odicals that have a distinct and unique field, 
and that fill it completely in all respects. To 
mothers it is an indispensable monthly cyclo- 
paedia of information about child life, and there 
is not a number that is not full of practical 
hints to young mothers. Babyhood is scientific, 
as well as popular, and its useful teachings 
have undoubtedly improved and saved many 
children's lives. 

Afunson^s Phonographic News and Teacher — 
indispensable, by the way^ to all students of 
Munson's system of shorthand — reprints in 
phonographic characters in its January number 
the article on " Shorthand as a Help in Liter- 
ary Work" by Edward L. Martin, first pub- 
lished in the December Writer. 

The Critic ( New York ) has begun its four- 
teenth year. During 1893 it contained 850 
pages of reading matter — 100 pages more than 
in the preceding year. More than 1,500 books 
were reviewed. The publication of illustrations 
was resumed, more than 125 pictures, large and 
small, being printed during the twelvemonth. 
A Chicago letter was added, so that weekly 
correspondence is now published from London, 
Boston, and Chicago. 

Ernest F. Birmingham, of New York City, 
will begin about February 1 5 the publication of 
The Fourth Estate, a class journal, to be de- 
voted to the interests of the makers of news- 

Kenyon West, whose home is in Rochester, 
N. Y., is a writer whose literary reputation is 
constantly extending. He has contributed to 
the Independent, the Chautauquan, the Ex- 
aminer, the Andover Review, the Literary 
World, the Century, the New England, and 
other magazines articles of a critical nature, 
and to these and others many articles of a more 
general interest. 

Owen Wister, the author of " How Lin 
McLean Went East," " Em'ly," and other 
stories, has been spending the late autumn and 
early winter in Arizona collecting material for 
a new series of Western tales, which will ap- 
pear during the year in Harper* s. 

In her article, " A Menace to Literature," itt 
the North American Review for February,. 
Margaret Deland says : " It is surely time that 
authors looked for a moment beyond the pleas- 
ant haze of flattery with which personal journal- 
ism surrounds them, to see the indignity which 
is done their art, and the vulgarity which at- 
taches to their characters." 

Peterson's Magazine for February has a 
frontispiece portrait of Mignon Villars, accom- 
panying her story, " The One Event of Monans- 

"Afterthoughts of a Story Teller" is the 
title of a paper by George W. Cable in the 
North American Review for January. In it 
Mr. Cable takes the reader into his confidence 
as to the methods he has followed in writing 
his most popular novels. 

Brentano's Book Chat has been discontinued,, 
and its subscription list will be filled by the 
Literary News. 

Herbert Bashford and Lee Fairchild, the 
young and gifted Puget Sound poets, are giving 
readings from their poems with flattering suc- 

Bertha M. Rickoff, whose able papers in the 
Forum have attracted much attention, is living 
at present at Anacortes, Washington. 

Louise Herrick Wall is a daughter of Chris- 
tine Terhune Herrick, and a granddaughter of 
Marion Harland. Her visit to a logging-camp 
in the deep fir solitudes of Washington was de- 
lightfully described in a recent number of the 
Atlantic Monthly. She lives at Aberdeen, 

Carrie Blake Morgan lives in picturesque 
Portland, Oregon. Several of her poems have 
appeared in Lippincott^s Magazine this year. 
She is a contributor to the New Peterson, the 
Ladies'* Home yournal, the Calif ornian, the 
Overland, the Youth's Companion, Leslie's 
Weekly, and other publications. 




Vol. VIL 


No. 3. 

Entered at the Boston Post-office as second-class mail matter. 

CONTENTS : pagb 

"Othb« Stories." K. L. Johmton 33 

Shbllby and Vbgbtarianism. Kenyan iVett. ... 34 
A Plba for thb Nkglbctbd Rhbtorical Poor. R, 

Macdonald Alden 38 

Thb " Days of ChildoCracy " in Litbbaturb. Pamela 

McArthurCoU 39 

Arb Editors to Blamb? Edward L. IVhite. ... 41 

Editorial 4» 

A Big Sheet of Paper, 42 — Effect of the Hard Times 

on Writers 42 


Th« Scrap Baskbt 44 

Thb Use and Misusb of Words 44 

The Birthday Question 44 

Book Rbvibws 44 

Hblpful Hints and Suggbstions 46 

Printed Noteheads for Authors, 46— A Chatelaine 

Note-book 46 


Nbws and Notbs 47 



( The embryo genius from whose diary this 
episode is taken merely stipulated that his 
name was n't to be used. He made no condition 
concerning the other embryo's name^ but the 
present chronicler has a conscience — or believes 

I was spending a most enjoyable evening in 
mj^wn society when Travers added himself 
to the company. I made room for his feet also 
on the table, and said resignedly : — 

" If youVe got a new idea, Travers, stow it 
till IVe finished this cigar, please." 

"Sha'nH," he responded, lighting his own. 
** Too good to keep." I have heard somewhere 
of the " pure passionless curiosity of the man of 

science " — that must have been what prompted 
me to tell him to go on. One might consider 
Travers as a psychological study, you know. 

" It's a book," he further informed me. 

"You waste a good deal of time in unneces- 
sary statements." 

"Oh, I don't know: it might have been a 
poem, or a new magazine. But it's this way. 
How many books have you seen entitled, say, 
» Mary, and Other Stories ' ? " 

" I think about a million," I said, thought- 

"Yes, so have I. That makes two million. 
You know I've never published any of my short 
stories in the magazines ? " 

"Magazines did n't want them.?" I queried, 
with the sympathy born of experience. 

" Don't know, I'm sure. The magazines are 
like Jess Logan and her cloak — they no' got a 
chance of no' wanting them. They were n't 
good enough to send." I gazed on him in 
silent admiration. 

" No," he went on; "but I've always wanted 
to write . a story, you know." I knew. I had 
heard of that story at all sorts of uncanny 
hours — the times Travers- usually grew confi- 
dential — for more than six years. 

" Yes. Got your inspiration at last ? '' 

" Not in the least," with a sigh. " It's merely 
a case of wresting victory from defeat, don't 
you know. I'm not going to try to capture 
that yarn any longer, but I've got one or two 
other ideas that I can make good second-class 
stories of." 

" Yes," said his one hearer, quite soberly. 

" Second-class for me, I mean, old man," he 
amended quietly. " You see " — he took his feet 
off the table, and, leaning forward, looked into 
the fire — the implication being that it would n't 

Copyright, 1894, by William H. Hills. All rig,Ku T««Kn«^ 


The Writer. 

[ 1 1 





tell him he couldn't write second-class stories. 
"You see — well, take a simile. If one had a 
pearl necklace, you know, fine pearls, but with 
one missing, the — what do you call it, the big 
one that comes in front — he'd be inclined to 
sulk. Now, if you laugh, I'll tell all the bores 
I know what good cigars you keep.'* 

" Nevertheless, you mean to string the other 
pearls without the big fellow ? " 

" Yes, publish a collection of short stories, 
and call it 'Other Stories.' See.^ And I'd 
work off a semi-pathetic preface, signed with 
initials, on the confiding public, explaining." 

" That would h^ interesting." 

"Thank you. Sort of suggesting that I'd 
missed the jewel of my artistic life, as a fellow 
sometimes misses the — what he wants most 
in other things." I nodded. "Then I'd amble 
on, ' When the glamour gets off life, and we set- 
tle down to enjoy it or endure it, as our luck 
happens to be, we see grace in the before-unen- 
durable " second best." Youth's haughty " All 
or Nothing " gives place to a saner and sadder 
motto, and, when we would offer a gift, we give, 
as I do now, not what we would, but what we 
have.' See, old man ? " 

" Yes ; * to-day my queen of beauty is not 


"Thanks — yes. I'd have to work up to 
that by something which would leave the infer- 
ence plain that * today' meant my present 

threescore years and ten — that my queen of 
beauty had missed landing in the same genera- 
tion with me — not saying it in so many words, 
of course. The whole preface must be a ming- 
ling of graceful reserve and pathetic straight- 
forwardness that will catch *the youngest 
critic' " 

"Great game, literature," I said, reflectively, 
after a moment's pause ; but Travers and the 
fire were already busy on that masterpiece of a 

( A week later.) 

Met Travers to-day, and was surprised to see 
him looking dissatisfied with Fate. 

" Preface gone on strike ? " I asked, sym- 

"Yes, whole thing gone on strike. I've been 
trying all the week to work out one or other of 
my stories, and I can't think of a single thing 
but — " 

" Well ? " 

" But the story I wasn't going to write." 

"Whv not write that, then? You've been 
wanting to for six years or more?" It took 
this idea fully thirty seconds to reach Travers' 
intelligence. Then he glowed with gratitude. 

"Why, of course; thank you, old boy; of 
course, I can ; I never thought of that." 

K. L. yohnston, 

Toronto, Ont. 








There is no subject of more vital importance 
to the man of letters than the care of his physi- 
cal health. Regular habits of work and rest; 
proper clothing; the use of such desks and 
chairs as help him to withstand the natural 
tendency to stoop ; wisdom in diet ; systematic 
exercise; good ventilation, and all such things 
are to him matters of the greatest moment. 1 
wish to speak especially of one phase of this 
subject, and that is wisdom in diet. After all 
IS said that can be said in regard to the value 
of different foods, it will be found that the bal- 

ance of proof is on the side of a mixed diet for 
man. The assertion that extreme vegetarian- 
ism, "the potato gospel," as Carlyle callQ|fiit, 
is detrimental to the welfare of the race re- 
ceives added emphasis when we begin to look 
at the historical aspects of the question. And 
this is especially the case when we study the 
life-record of the great poet whose centenary 
occurred recently. I cannot better enforce my 
plea for care and wisdom in the choice of food 
than by a reference to Shelley. His^ life is full 
of lessons for every poet, novelist, or jour- 

The Writer. 


cialist who reads the pages of The Writer. 

The whole character of the celebration of 
Shelley's birth proved that he has taken an 
abiding place both in English literature and 
in the hearts of the English people. One form 
which that celebration assumed was of an un- 
usual nature. On a Saturday evening many 
notable men of letters in London sat down to a 
banquet in the poet's honor. The feast of 
reason and the flow of soul were the most im- 
portant elements of this princely festival. It is 
perhaps possible that the philosophers present 
fared well in other respects, but the food was 
wholly of vegetable products, — no meats, no 
■game, no fish found favor with the guests. The 
speeches were brilliant and enthusiastic, tinged 
^ith the most aggressive and democratic 
thought of the age. The hero of the evening 
was extolled. His work as a poet received 
many just and beautiful tributes, and in har- 
mony with the belief of those present, all the 
poet's excellences were attributed to his aver- 
sion to the fleshly morsels that have not been 
disdained by other poets. 

Now, Shelley was undoubtedly one of the 
greatest lyrical poets of the world. There was 
a personal charm and magnetism about him 
which fascinated all who knew him well, and 
even now, so many years since his mortal part 
vanished from sight in that treacherous storm 
•on an Italian sea, the mere mention of his name 
has power. But there were many things about 
Shelley which at first seem totally at variance 
^with his unselfish, pure, and gracious character. 
It cannot be denied that he sometimes disre- 
garded the strict truth ; that he was subject to 
delusions; that his views of duty and of per- 
sonal obligation were sometimes strange and 
perverted ; that he was changeable, inconstant, 
and erratic ; impulsive and visionary, often pro- 
posing reforms which had no practical value, 
and writing poetry as unsubstantial as the rose 
and violet-tinted clouds. It is true that, after 
all is said against Shelley that can be said, it 
will be found that the balance upon which good 
and evil rest dips far down on the side which 
^ont^ns the qualities which win our admiration 
and respect. And yet is it not reasonable to 
.assume that the poet's physical condition was 
the primary cause of many of his most startling 

idiosyncrasies.'^ He was blessed or cursed 
( whichever way we look at the matter ) with a 
peculiarly sensitive, nervous temperament; was 
subject to rapt, excited moods when his mind 
hovered dangerously on the verge which sepa- 
rates perfect sanity from its opposite ; and he 
sufEered constantly from illness and pain. Is it 
unreasonable to assert that Shelley's physical 
and intellectual condition, if not directly depend- 
ent upon, was largely influenced by his pecu- 
liar diet ? 

It was not until he left Oxford that Shelley 
became a strict vegetarian, though from his 
youth he strongly objected to the shedding of 
the blood of beast or bird for the purpose of 
obtaining food. His mother, perhaps to 
harden him, insisted on his fishing in the 
streams of his native Sussex ; but the imagina- 
tive and poetic boy, who much preferred a soli- 
tary walk under the stars, or a row in his boat 
accompanied only by books, certainly not fish- 
ing lines or hooks, often took the gamekeeper 
with him on the expeditions planned by his 
mother. Shelley would sit in his boat and read 
while the gamekeeper fished for him. The 
spoil would be given to Mrs. Shelley afterward 
as the product of her son's industry. Later, in 
his Oxford vacations, he hunted to some extent, 
but this was also owing to outward pressure, 
not to any sanguinary propensities. 

We see the good effects of Shelley's mixed diet 
at Oxford in his, for him, vigorous health. He 
was not troubled by the nervous excitement 
which was so conspicuous later, nor was he 
haunted by those strange hallucinations which 
perplex his different biographers. But Shel- 
ley's favorite food was, at all times, bread. It 
seemed as if he could live on that alone, without 
complaint or weariness. Sometimes in walking 
through the crowded streets of London, he 
would rush away from his companion's side, 
dart into a baker's shop, thence emerge with a 
loaf under his arm, from which he would, as he 
walked, break off pieces, not only to eat him- 
self, but to offer to his friend. If the offer 
were declined, he was both perplexed and sur- 

" Do you know," he said one day to Hogg, 
" such a one does not like bread." 

In Shelley's pockets would usually be found 


The Writer. 

the fragments of a loaf, and Hogg tells how a 
circle upon the carpet, clearly defined by an 
ample verge of crumbs, often marked the place 
where he had long sat at his studies, his face 
nearly in contact with his book, greedily 
devouring bread at intervals amidst his pro- 
found abstractions. 

Shelley ate with great relish a queer mixture 
of bread and boiling water called "Panada." 
The bread was steeped in the hot water, then 
squeezed, and sprinkled with nutmeg and sugar. 
Tea remained Shelley's favorite to the very end 
of life. In his famous " Letter to Maria Gis- 
borne," that poem written in a style which 
Shelley adopted nowhere else, he speaks of 
tea as 

" The liquor doctors rail at, and which I 
Will quaff in spite of them ; and when we die 
We'll toss up who died first of drinking tea, 
And cry out, * Heads or tails ?' where'er we be. 


After Shelley became wholly converted to 
vegetarianism, he looked back with horror upon 
his occasional indulgence at Oxford in a glass 
or two of negus. " I ought to have been shot 
for it," he says. At Newton*s charming vege- 
table dinners, even the water had to be distilled 
before it could be drunk; but when Shelley 
dined in his own house, we fear that Harriet 
Westbrook was scarcely a careful enough 
housekeeper to attend to this important matter 
of distillation. 

Dowden says that when the physiology of the 
poets has been studied we shall perhaps know 
why Wordsworth and Shelley were water- 
drinkers ; why Keats loved an exquisite claret ; ' 
why Southey soothed himself to sleep with a 
tumbler of domestic currant rum; why Byron 
in his later days craved the more fiery and 
fiercer stimulants. 

Soon after Shelley's marriage he became a 
vegetarian. Occasional lapses into his former 
habits are recorded. He never was under oath 
to abstain entirely from meats, but, on the 
whole, his life was modelled according to the 
simpler principles which were with him instinc- 
tive. " You do not know," wrote Harriet to 
Miss Kitchener, " that we have foresworn meat 
and adopted the Pythagorean system. We are 
delighted with it and think it the best thing in 
the world." But the new converts were neither 

narrow nor intolerant. When a certain friend 
came soon afterward to talk with Bysshe and 
Harriet about virtue, they did not scruple to set 
before her at dinner " a murdered fowl." 

But alas, alas ! for the housekeeping of poor 
Harriet Shelley! It is really surprising that 
Shelley waited till 1814 before he wrote a poem 
about his sad and silent home, his desolated 
hearth. Even a poet must eat, and should he 
believe that he must eat only vegetables or 
cereals, there is all the more reason that they 
shall be prepared so that he may become 
healthy, even if he cannot become wealthy or 
wise. It taxed Hogg's patience to dine with 
the Shelleys, and long years afterward the 
memory of those dinners remained with hin> 
like a nightmare. They would, indeed, make 
concessions to his coarser taste and place be- 
fore him meats or fish, but oh, how atrociously 
cooked they were ! If it were proposed to 
Shelley that he should order dinner, he stood 
aghast in speechless trance; when recovered 
from the outrage to his feelings, "Ask Har- 
riet," he would cry, with a desponding, suppli- 
cating mien. The good Harriet herself was no 
proficient in the culinary art. " Whatever yovt 
please," was her ordinary answer. 

"* Whatever you please* did not produce a 
dainty menu. ... A leg of coarse mutton boiled 
to rags with half-raw turnips. ... I dropped 
a hint about a pudding," continues Hogg, " but 
Bysshe said dogmatically : * A pudding is a 
prejudice.*" When supper time arrived the 
only resource these three unfortunate people 
had against total starvation was the baker's- 

"We will have some muffins and crumpets 
for tea,** the famished Harriet would say. 

"They will butter them,** Bysshe would 
exclaim, in a voice thrilling with horror. In 
that case comfort was sought in a supply of 
penny buns. 

" Get a shilling's worth of penny buns, Bysshe,'*^ 
said Harriet. 

" He would rush out with incredible alacrity^ 
like a wind god,'* says Hogg, " and return in an 
instant with the bag of buns, open at the top, in 
his hand.*' 

That Shelley lost so little time in obeying his 
wife's orders proves that the poet, who, when 

The Writer. 


tinder the dominion of the ideal, lived upon 
political justice and ^Utiring theories, and as- 
serted that a pudding was a prejudice, had 
yet, under the pressure of hunger, to acknowl- 
edge the terrible power of the material. 
There are other interesting cases where Shel- 
ley's dominant idealism was forgotten under 
the pressure of a quite natural and excusable 
hunger. When he aroused Mrs. Southey's 
ire by despising the tea cakes her husband was 
enjoying with so much relish, Shelley did not 
really know how good they were. After he 
himself had devoured plate after plate of these 
same cakes he had to return home and tell 
Harriet with a burst of enthusiasm that they 
must have tea cakes in their menage forever. 
Could Mrs, Southey have foreseen how this act 
of Shelley's was to render famous her house- 
wifely skill, she might have been less angry 
with the poor, blundering poet. 

Once Shelley so far forgot Pythagoras as to 
partake largely of eggs and bacon at a country 
inn, after a long tramp over the hills. At first 
Jie refused to taste the dish ordered by his 
companion, but the delectable aroma penetrated 
his senses and he began with a small portion 
held on the end of his fork. He found it good, 
and so he attacked the plate, then called in the 
waiter and ordered more. He repeated this 
till the despondent waiter had to inform him 
that there remained no more bacon in the house. 
Thereupon the poet left in haste, informing 
Harriet on his return home that they must have 
eggs and bacon henceforth forever. 

In 1813 Shelley published that eloquent plea 
on behalf of "Vegetarianism, — A Vindication 
of Natural Diet." 

It is just to remember that Shelley was very 
impractical. He totally disregarded times and 
seasons, for he took no thought of dinner-hours, 
would eat only when he was hungry, and then, 
as Trelawny says, would eat much as the birds 
do, if he saw something edible lying about. 
Shelley's individual case cannot, therefore, be 
•cited as an argument either for or against vege- 
tarianism. His case proves only that when he 
yielded to natural impulses and indulged in a 
liberal mixed diet, his health certainly im- 
jproved. He wrote to Godwin that his physical 
«condition was such that he could not hope for a 

long life. He spoke of his nervousness, of his 
being at the age of nineteen affected by any 
slight fatigue, and so he said he must husband 
his powers. But he really seemed to have very 
little wisdom in lys care of his personal welfare. 
A few years afterward he wrote to Leigh Hunt 
that he suffered as much as ever from the pain 
in his side ; " but do not mention this," he said, 
•* for the advocate of a new system of diet is 
held bound to be invulnerable by disease." 

It would be, of course, absurd to attribute 
the sensitiveness of Shelley's imagination to 
the fact that he was a vegetarian and a water- 
drinker. But a careful study of his biography 
will show that his natural sensitiveness was much 
intensified by his disregard of the simplest laws 
of hygiene ; that he was the freest from strange 
delusions and thrilling fancies when his friends 
took him in hand and reminded him of the 
claims of his physical nature. When he started 
out on that famous excursion to explore the 
source of the Thames, Shelley was weak and 
pale, but after he had been for some time on the 
water Charles Clairemont wrote to his sister 
that there was a remarkable change in the man- 
ner and in the appearance of the poet. ** He 
has now the ruddy, healthy complexion of the 
autumn upon his countenance, and he is twice 
as fat as he used to be." Peacock attributed 
the change to the fact that he became Shelley's 
physician for the time and prescribed a salutary 
change in his diet. ** He had been living 
chiefly on tea and bread and butter, drinking 
occasionally a sort of spurious lemonade, made 
of some powder in a box, which, as he was 
reading at the time * The Tale of a Tub,' he 
called the powder of pimperlimpimp." Shelley 
seemed quite willing to take what Peacock told 
him to — three mutton chops, well peppered. 
Other good things followed in the wake of 
these honest, well-disposed chops, and he began 
to be quite a different man. 

We see the fine result of Shelley's restored 
health and of the manifold impressions derived 
from the beautiful scenery he witnessed during 
this wonderful journey in that great poem 
" Alastor." Here Shelley, for the first time, 
showed the hand of the master. 

In the last year of his life Shelley appeared 
to Trelawny to be strong and vigorous. But 


The Writer. 

Trelawny, as well as Hogg, bore witness to 
the fact that the poet forgot his physical claims 
in his devotion to books, in his zeal, his enthu- 

" I called on him one mornipg at ten," says 
Trelawny. ** He was in his study with a folio 
open, resting on the broad mantelpiece. He 
had promised to go with me, but now he begged 
to be let off. I then rode to Leghorn, and re- 
turned in the evening to dine with the Shelleys. 
I went into the poet's room and found him in 
exactly the same position in which I had left 
him in the morning, but looking pale and ex- 

" * Well,* I said, * have you found it ? ' 

" Shutting the book, he replied with a deep 
sigh, * No, I have lost it, — I have lost a day.' 

" * Cheer up, my lad, and come to dinner,' 
said I. 

" Putting his long fingers through his masses 
of hair, he answered faintly, * You go ; I have 
dined, — late eating does n't do for me.' 

" *What is this ? ' I asked, as I was going out 
of the room, pointing tor one of his bookshelves- 
with a plate upon it. 

" * That,' — coloring, — * why, that must be 
my dinner. It's very foolish. I thought that 
I had eaten it.' " 

It is, therefore, not surprising that with such 
habitual carelessness, taken in connection with^ 
his peculiar temperament and frail constitution^ 
the poet should have been afflicted during those 
last days at Casa Magni with especially fright- 
ful visions when asleep, and strange fancies o£ 
impending doom, even in his waking hours. 

It is said that Tennyson once tried to follow 
in the footsteps of Shelley, but his enthusiasn> 
for the potato gospel quickly passed away. For 
ten weeks, he said, he tried Edward Fitzger- 
ald's " table of Pythagoras, but felt so chilled 
on the half- spiritual height to which he had 
been exalted that he was glad to get down and 
taste flesh again." Kenygn West. 



Great men and great issues always receive 
their share of attention, and do not need tp 
have their rights upheld by others ; while small 
matters may have to go begging for want of a 
friend to point out their neglected condition. 
This is true not only in social and moral life, 
but also in grammatical and rhetorical regions. 
Nouns and verbs, plots and characterization, 
are always sure of polite consideration ; but 
small parts of speech, and the small assistants 
of speech, are not so likely to be respected. 
Hence I would utter a plea for the more com- 
monly neglected rhetorical poor. 

The first class of these is that of conjunctions. 
Writers do not realize what a work these small 
creatures could do if they were only encouraged. 
Emerson usually forgot their existence, and the 
holes in his essays which ought to have been 

filled by them must always be encountered".. 
More commonly the wrong ones are called 
upon, and have to fill posts the duties of which 
they cannot perform. How often a dark para- 
graph would be illuminated if the " buts," and 
**ands," and "fors" might exchange places T 
When the careful reader comes to a " but," he 
takes a mental jump to the other side of the 
road which he has been travelling, and if, whei> 
he has reached it, he finds that he is on the 
opposite side from the train of thought, he is 
likely not only to be disgusted, but frequently to- 
miss the train altogether. 

Of a still lower social order, and far more 
flagrantly neglected, is the race of punctuation- 
marks. Here the poor printers have to make 
sure that there are no blank spaces, but fre- 
quently the selection of officiating marks is lefft 

The Writer. 


to them, and when it is not, the result may be 
no better. No one who reads many letters or 
manuscripts fails to observe that the average 
penman has one or (when unusually extrava- 
gant) two mysterious hieroglyphics at his com- 
mand, which are brought out whenever a punc- 
tuation mark is called for, and warranted to 
defy investigation as to which particular point 
they represent. It is the intellectual connec- 
tion of these neglected creatures which makes 
them of importance ; and it is hard to see how a 
writer can have proper commas and semi-colons 
in his brains, if they do not demand to be repre- 
sented on paper. Just as a good reader will 
take a mental jump at sight of a " but," so he 
will assume the proper attitude when com- 
manded by a punctuation mark. A comma 
tells him to keep moving, but if he finds no 
adjoining phrase whither he can move, the sen- 
sation is the same a§ when one tries in the dark 
to step up to an extra stair which is not there. 
Nearly allied to these families of the neg- 
lected poor are the Paragraphs, and ( in techni- 
cal works ) the paragraph numbers and headings. 

One cannot help thinking that these matters 
also are left largely to the compositor or proof- 
reader, when he considers the dismembered 
ideas, mutilated arguments, and cruelly sepa- 
rated families of sentences which lie pitifully 
scattered on the pages of literature. These 
things are not unimportant; these neglected 
poor, like all neglected poor, throw curses after 
those who pass them by. Every one knows 
what an efEect Dickens could produce by the 
sudden use of a capital letter, and how De 
Maupassant's paragraphing sometimes tells 
more than his words. Every student, at least, 
knows how he is forced to go through text- 
books and make for himself abstracts of their 
contents, because the authors seem blissfully 
ignorant of the fact that their ideas have lawful 
and orderly connection with one another. 

The moral whereof is this : All )'e who write, 
think on the poor, whom ye have always with 
you in dictionary and grammar, ready to give 
help in return for consideration, and to bring 
rhetorical blessings to their friends. 

Philadelphia, Penn. -/?• Macdonald A Iden. 


In one of those pleasant New England stories 
by Miss Sedgwick, whose village sketches de- 
lighted readers of a past generation, the crisis 
for which lovers of the romantic are looking is 
assisted by the comments and criticisms of a 
little girl. Alice is what it is now fashionable to 
call in French, un enfant terrible^ — better 
known in New England vernacular as " a hateful 
child." The author says : " F. was evidently 
becoming annoyed with the little girl's sallies, 
— I dare not say impertinences, — and who 
dares to check a child in these days of childoc- 
racy ? " 

Presumably a word of the author's own coin- 
ing, and open to criticism as not formed accord- 
ing to the acknowledged rules of word building, 
perhaps never used again, *' childocracy " is yet 

the expressive name of a form of authority well 
known as far back as the days of Themistocles. 

The lament over the follies of children and 
the errors of parents is nothing new, — lovers of 
the old times (always the "good" old times) 
did, and do, and will grieve over the want 
of judgment and the decay of discipline; 
but these are questions for educators, — the 
writer may look with interest on the "days 
of childocracy " in literature. 

In ancient writings, children make but small 
appearance. Virgil gives them no place in the 
Elysian Fields, but the first sounds that reached 
the ear of Eneas in his visit to the under-world 
were the wail of little children, and next — sug- 
gestive order — arose the cries of those, c^"^ 
demned her^ lo 2ccv >3lxv\\vsX ^^^JC^« 



Occasionally those "human buds of prom- 
ise " are mentioned in letters or epitaph in lov- 
ing words, — but it was reserved for Christianity 
to give them a place and a character. 

In modern days, till recently, the "grown- 
ups" had literature generally to themselves; 
but now children, from the baby, ignorant of 
letters, to those standing 

" Where the brook and river meet, 


all have their own books, their history, their 
poetry, their magazines, their novels. The stiff 
little mortals of the juvenile books of an earlier 
generation have gone, passed on to the " Land 
of the Hereafter," following their grown-up 
friends in hoop-skirts and wigs, and in the 
nursery literature of to-day we have many of 
the genuine children of modern time, the 
slangy, the fun-loving, the careless, and the 
thoughtful; and although the former type, "too 
good for this world," does now and then appear, 
it is not, of necessity, destined to an early grave. 

But the precocious child of to-day's stories 
usually appears in the guise of a preternaturally 
sharp business character, all whose ventures 
prosper, and who, by the mysterious exercise of 
some talent hitherto unsuspected by unobserv- 
ant relatives, lifts mortgages from the home- 
stead, and surprises care-worn relatives and 
perplexed guardians with bank books and gov- 
ernmtmt bonds. 

Many children's books are written too obvi- 
ously with a purpose. A writer on education 
recommends that a desire for the comfort and 
welfare of the children of a family should 
underlie all the arrangements made by the 
adults. Only those guests should be invited 
whose manners would furnish worthy example, 
whose conversation would be instructive. No 
books unsuitable to the young should be 
broui^ht into the house, whatever may be the 
temptation to the elders, — yet, though this 
thought should be the moving spring of action, 
the children themselves should never be allowed 
to suspect that they were of so much import- 
ance. The first object of thought, the main- 
spring by which all the domestic machinery is 
moved, is to be perfectly ignorant of the moving 
influence ! Apparently the writer is not familiar 
with '' little men and women," at least it is evi- 

dent that, though she may not over-rate their 
importance, she at least undervalues their 

But, however it may be in life, whether they 
are, or are not, the first object of thought, it is 
often in books not written for them, but where 
they take a subordinate place, that the most in- 
teresting children are found. To mention 
a few among many: who more interesting 
among Sir Charles Danvers' friends than little 
Molly, who sympathized so tenderly with the 
disappointed uncle's aching heart? — she had 
felt just so herself — "it was the little green 
pears." Who would willingly part with Mary 
Fenwick's little friends ? How the light of the 
story goes out with Gill's short life ! 

What delightful children appear in Howells' 
stories. In his "Indian Summer" is either 
Imogen or her rival as charming as Effie? I 
suspect many a reader is better pleased with 
the autumnal romance as securing to Effie the 
father she would so gladly have chosen, than 
as giving back the old lover to her mother. 

But no hand is more skilful in depicting chil- 
dren than that of Hawthorne. Witness the 
tender touches qi little Annie's ramble, of the 
gentle boy, the living flowers of Tanglewood, 
listening to those old tales that have charmed 
the Earth since the days of her own babyhood. 
The children of his books are genuine flesh and 
blood, full of childhood's pranks and capers, yet 
not devoid of that insight which belongs of 
right to those who had not 

" Forgot the glones he hath known, 
And that imperial palace whence he came.** 

What an idea he suggests of the grim lives of 
the adults when he shows us the little Bos- 
tonians disporting themselves in the street, 
" playing at scourging Quakers, scalping In- 
dians, or in freaks of imitative witchcraft." 
Enthusiastic admirers of the olden time have 
questioned the probability of such amusements, 
but we are told in the sober pages of history 
that when the heresies of Mistress Hutchinson 
had shaken all the colony, the children entered 
with a zeal worthy of their elders into the con- 
test, and squabbled with their comrades over 
the questions of works and faith. Small won- 
der if in play they imitated the most impressive 
scenes of the time. 

The Writer. 


Poor Miss Pyncheon's voracious customer, 
Ned Higgins, who made his own small person 
;a menagerie of gingerbread animals, is a child 
-of prose, a sharp urchin of the street. But 
none excels the portraiture of little Pearl, 
sweet as the rose, changeable as the wind, now 
iloving and consoling, now probing with her 

baby-touch the darkest and deepest mysteries 
of her mother's heart, charming, but weird and 
uncanny, as befitted one who " owed her exis- 
tence to a broken law." 

Pamela Mc Arthur Cole. 

East Bridcbwatbr, Mass. ' 


" He didn't read my manuscript at all ! " ex- 
•claims the author, whose " valued contribution " 
has been declined with thanks so promptly that 
the contributor feels more deeply aggrieved 
than if the editor had kept the manuscript for 

" Well, why should he ? " a more experienced 
contributor might ask. " Of course, it is gener- 
ally understood that he can use unsolicited 
manuscripts if they are good, and is willing to 
have them sent to him for examination; but did 
he ever ask you to send him anything, or prom- 
ise to read everything that he might receive 1 
Some periodicals, the Forum^ for example, are 
made up almost altogether of contributions 
ordered from specialists by the editor on sub- 
jects selected by him, and seldom print unso- 
:Hcited contributions of any kind. Why should 
the editor of the Forum, then, be expected to 
read a given manuscript sent to him without 
solicitation, when a mere glance at the title of 
it shows him that he does not want it, or, in 
•case the title is attractive, if perusal of the 
first page gives evidence that the treatment of 
the subject is inadequate ? *' 

The salaries of manuscript readers are an 
important item in the expenses of every large 
publishing-house or periodical. The Century^ 
for example, receives nearly 10,000 manuscripts 
every year, and the cost, as well as the labor of 
caring for them, is inevitably large. '1 he limita- 
tions of the magazine are such that only a very 
iew of these manuscripts can be used in any 
<:ase. Is it reasonable, then, to say that the 

editor of the Century or his assistants should 
read religiously through every one of these 
10,000 manuscripts to make absolutely sure that 
no obscure gem is overlooked or that no injus- 
tice to the author may be done? Is it not 
manifest that the editor is called upon only to 
give such examination to unsolicited manu- 
scripts as may be consistent with his own in- 
terests, and that if he should try to do more 
than that, out of regard for the feelings of his 
contributors, his own interests would seriously 
suffer ? 

It is a mistaken idea that an editor has any 
responsibility toward the unsolicited contribu- 
tor, beyond that of caring for his manuscript 
while it is in his possession and of returning it, 
in case the necessary stamps are sent with it, 
as soon as he has decided that it is unsuitable 
for his purpose. 

Some editors may encourage young genius, 
and most editors do give to their contributors 
much gratuitous assistance and advice, but no 
writer has a right to expect any editor to do 
anything of the kind. As for patiently reading 
all the manuscripts that are submitted to him, 
if any editor should do it, he would have no 
time left in which to do his proper work. 

In a word, when an editor is overstocked, or 
sees at a glance that an article submitted is not 
likely to be what he wants, it is simply unreas- 
onable for the author of it to expect that he 
should read it through. 

Edward L. White* 

Brooklyn, N. V. 


The Writer. 

The Writer. 

Pnbliahed monthly by The Writer Publishing Company, 282 
Washington street, Rooms 9 and 10, Boston, Mass. 



S*ThbWritbr is published the first day of every month. 
It will be sent, post-paid, Onb Ybar for Onb Dollar. 

%* All drafts and money orders should be made payable to 
The Writer Publishing Co. Stamps, or local checks, should 
not be sent in payment for subscriptions. 

•»*Thb Writbr will be sent only to those who have paid for 
it in advance. Accounts cannot be opened for subscriptions, 
and names will not be entered on the list unless the subscription 
order is accompanied by a remittance. When subscriptions ex- 
pire the names of subscribers will be taken o£f the list unless an 
order for renewal, accompanied by remittance, is received. Due 
notice will be given to every subscriber of the expiration of his 

%*■ No sample copies of Thb Writbr will be sent free. 

%*The American News Company, of New York, and the 
New England News Company, of Boston, and their branches, 
are wholesale agents for Thb Writbr. It may be ordered 
from any newsdealer, or direct, by mail, from the publisher. 

%* Eyerjrthing that may be printed in the magazine will be 
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28a Washington Street ( Rooms 9 and 10 ), 

( P. O. Box 1905. ) Boston. Mass. 

Vol. VII. 

March, 1894. 

No. 3. 

Short, practical articles on any topic con- 
nected with literary work are always wanted 
for The Writer. Literary people are invited 
especially to send in suggestions for the " Help- 
ful Hints" department, and items of information 
about any literary work on which they may be 
engaged. The chief object of The Writer is 
to be a magazine of mutual help for authors, 
and its pages are always open for anything 
practical which may tend in this direction. 
Bits of personal experience, suggestions regard- 
ing methods, and ideas for making literary 
work easier or more profitable are especially 
desired. Articles must be short, because the 
magazine is small. 

A sheet of paper seventy-two inches wide and 
nearly eight miles long was manufactured re- 

cently. Those who have a taste for mathe- 
matics might amuse themselves by figuring out 
how long it would take a newspaper writer to- 
cover such a sheet of paper in the course of his- 
daily work, assuming that he does llie ordinary^ 
active newspaper worker's average stint of a 
column — say, thirty " takes " of 5 x8 manuscript 
paper — a day. 

♦ * ♦ 
The immediate effect of the '* hard times" on 
the business of authorship is seen in the unwill- 
ingness of editors to buy more manuscripts than 
are actually necessary, and, in many cases, in a 
tendency to reduce rates of payment for the 
manuscripts that are bought. Another effect^ 
which is not so manifest to writers now. will be 
brought to their attention later on, and with 
much more pleasant results. The ** hard times,"' 
in a word, are compelling periodical publishers- 
now to economize in many cases by using the- 
accumulation of manuscripts that they have on* 
hand, and are driving some of the weaker publi- 
cations to the wall. Although authors may suf- 
fer now, however, later on they will profit 
from the present stringency. The stock o£ 
accumulated manuscripts cannot last for anp 
great length of time, and when it is gone editors- 
will buy more liberally than before, both for 
immediate and for future needs. Moreover, the 
suspension of the weaker publications will' 
strengthen those that are left, and will generally- 
clear the atmosphere. In the mean time 
authors are to be congratulated that their 
business is not more unpleasantly affected by- 
dull times in business circles, and especially 
that, while the smaller periodicals are econo- 
mizing, there are so many publications of the 
first class that are apparently buying as many 
manuscripts and paying as high prices for themt 
as usual, to all appearances not being troubled, 
in any way by the general business depressioib 
that exists. 

As for the book trade, it is practically useless- 
just now to offer an ordinary book manuscript 
to publishers. Hardly any new books are being-; 
issued at the present time, and those that are 
coming out are chiefly books that were con-- 
tracted for before the hard times came on. The 
present state of affairs in the book trade can- 

The Writer. 


not last very long, however, and when the dull 
times are past every one will be better off on 
account of them, as in the case of writers for 
periodicals, and for substantially the same 


w. H- H. 


[ Questions relating to literary work or literary topics will be 
answered in this department. Questions must be brief, and 
of general interest. Questions on general topics should be 
directed elsewhere.] 

Some writers declare that it is proper to use 
the sign IT at the opening of every paragraph in 
a manuscript; others, that an indentation is all 
that is required. Which method is most used 
by writers in general ? T. R. h. 

[ In typewritten copy, and in manuscript legi- 
bly written with the pen, an indentation of a half- 
inch or an inch is all that is required at the 
beginning of each paragraph. If the copy is 
not legibly written, or if the indentation is not 
as deep as half an inch, the paragraph mark 
(IT) is required in addition. Many writers use 
the paragraph mark in every case, and some go 
further still, and use both a IT at the end of one 
paragraph and another at the beginning of the 
paragraph that follows. In writing a series of 
short notes, — like the *' News and Notes" of 
The Writer, for instance, — this custom is 
quite general. The advantage of it is that it 
makes the copy plainer for the printer; and 
every one who has dealt much witK printers 
knows that it is impossible to make manuscript 
too plain. — w. h. h. ] 

How should I address a letter to the French 
Academy ? A. t. f. 

[A letter to the French Academy may be 
addressed: " M. Camille Doucet, Perpetual 
Secretary of the Academic Fran^aise, Paris, 
France." — w. h. h.] 

I observe that The Writer uses the abbre- 
viation "Calif." for California. Is not the 
" Gal." used by the post-office department bet- 
ter? There is no danger of its being mistaken 
for the " Colo." of Colorado, or for the abbrevi- 
ation of any of the other State names, r. j. b. 

[ " Calif." is better than *' Cal." as an abbrevi- 
ation for California, because "Cal.," while it 
cannot ordinarily be mistaken for " Colo.," may 

be mistaken for " Col.," which is a common ab- 
breviation for Colorado. " Calif." and " Colo." 
are unmistakable abbreviations, and the post> 
office department, as well as everybody else,, 
will do well to use both of them. — w. h. h. ] 

On page 59 of Luce's "Writing for the 
Press" I find this sentence, under the heading, 
" Errors of Arrangement " : " Carrera died on 
the same day that President Lincoln was shotj 
and was buried with great pomp." The itali- 
cised words are said to be misplaced. Would 
the correct placing be : " On the same dajr 
that President Lincoln was shot, Carrera diea,. 
and was buried with great pomp " 1 Would it 
sound better to say Carrera was buried with 
great pomp the day he died, or to use a comma 
after shot, in the first sentence, leaving the 
sense natural, /. e., that while Carrera died on 
that particular day, he was buried later .^ It 
certainly cannot be that Carrera died and was^ 
buried with great pomp on the same day that 
President Lincoln was shot. Every young- 
writer should own a copy of " Writing for the 
Press." G. w. s. 

[ The sentence might be written : " Carrera. 
died the day President Lincoln was shot, and 
was buried with great pomp." It would be 
better to divide the statement into two sen- 
tences — one telling of the death, the other of 
the burial. — w. h. h.] 

I should like to know the opinion of The 
Writer and of Arthur Fosdick, whose article 
in the December number has prompted this 
question, if it is necessary, in adopting a pseu- 
donym, to reveal the true name to a publisher 
or an editor. I do not mean in the case of 
anonymous communications, but when it is de- 
sired to cover the real, by an assumed, name. 

L. H. F. 

[ The editor of The Writer and Mr. Fos« 
dick are agreed that when a writer adopts a 
pseudonym he will generally do well to put his 
real name and address also upon his manu- 
script. He may stipulate that only the pseudo- 
nym shall appear in print, but for certain pur- 
poses of business correspondence, including 
the sending of the possibly non-essential, but 
still convenient, check, it is well that the editor 
should know the real name and address of his. 
contributor. Sometimes an author may desire 
to conceal his identity even from editors and 
publishers. In that case, he may accomplish, 
his object most conveniently ^.vA ^^^Oos>*^^\s^ 


The Writer. 

dealing through a responsible agency like The 
Writer's Literary Bureau. — w. h. h. ] 


I should like to inquire whether any one who 
has read Harold Frederic's delightful romance, 
" In the Valley,'* felt hurried at its close, or, 
rather, felt that the author had been hurried, 
and at a loss as to the disposition of his charac- 
ters at the end of the story ? I must confess to 
a slight feeling of disappointment in the clos- 
ing pages. Did Mr. Frederic really hurry it 
through at the last, or was it my fancy } 

M. E. p. 

Amsterdam, N. Y. 

" An Author's Confession," in the January 
Writer, amused me greatly, because, if I did 
not know better, I might take it for my own, so 
exactly does it correspond with an experience 
of mine — little poem, dear little auntie, and all. 
Even that expression, '* Now, I call that real 
pretty," is an exact duplicate of my aunt's com- 
ment. Can Persis Darrow have been under the 
piazza when I read it to her, some five or six 
years ago.? And the "Why don't you get it 
printed ? " and the reason why, too ! Dear me ! 
How many have heard that question asked ! 

M. E. V. 

Amsterdam, N. Y. 


[ Brief, pointed, practical paragraphs discussing the use and 

misuse of words and phrases will be printed in this department. 

All readers of The Writer are invited to contribute to it. 

-Contributions are limited to 400 words ; the briefer they are, the 


The Birthday Question. — If it is true ( and 
I think no one disputes it), as was lately said in 
The Writer, ihat "a person can have but one 
birthday," 1. ^., the clay on which he enters this 
world, what is the propriety of saying that the 
day he is seventy is his seventy-first birthday? 
The day which is annually celebrated by loving 
friends, or solemnly remembered by the friend- 
less solitary, is an anniversary, and if the day 
he is a year old is his first, so, counting on, the 
day he is seventy is his seventieth anniversary. 
The statement that Miss Yonge received an 
•album from her admiring readers on her seven- 

tieth birthday means that the gift was sent on 
her seventieth birthday anniversary. It is an 
elliptical phrase, — like many others in daily 
use, — no more a misunderstanding or mistake 
than the phrases, "the year 1894," "seven 
o'clock," and others. C. 

East Bridgbwatbr, Mass. 


Photography Ini>oors and Out. A book for amateurs. 
By Alexander Black. 240 pp. Cloth, $1.25. Boston: 
Houghton, Mifflin, & Co. 1894. 

The Opening chapters of Mr. Black*s book, 
telling in popular style of the early history of 
photography, are as interesting as a novel. The 
author has the faculty of making pictures with 
the pen as well as with the camera, and his 
story of Porta's invention ot the camera 
obscura, the first pictures of silver, the work of 
Schulze, Scheele, Wedgewood, Talbot, Ni^pcc, 
Daguerre, and other pathfinders, down to the 
public announcement of the production of the 
daguerreotype in August, 1839, and of the won- 
derful improvements made in photography since 
that day, cannot fail to fascinate any reader, it is 
told in such an entertaining way. Beyond that, 
the book is a practical treatise on modern pho- 
tography, full of useful hints and suggestions 
for making artistic pictures, explaining the 
chemistry of photography enough so that the 
amateur may know what he is doing with his 
pans and his solutions, and closing with tables 
of weights and measures and various formulas, 
together with an explanation of certain photo- 
graphic t^rms. Mr. Black is an expert amateur 
photographer, having been formerly president 
of the department of photography in the Brook- 
lyn institute, and his training as an art critic 
enables him to give many useful suggestions 
about making photographs that shall be artistic 
as well as permanent. A number of half-tone 
illustrations scattered through the book both 
teach and warn by conspicuous example. 

W. H. H. 

Thh American Annual of Photography and Photo- 
graphic Times Almanac for 1894. Edited by W. I. 
Lincoln Adams. 396 pp. Paper, 50 cei ts. New York : 
The Scovill & Adams Co. 1894. 

Nobody wlio has been long interested in 
photography needs to be told what " The 
American Annual of Photography" is. It is 
one of the first books that every amateur is 
sure to get interested in, and the annual issue 
of which he is sure to await expectantly. It 
is a summary, in sliort, of the advance made in 
the art of photography during the year, being 
made up chiefly of short articles by many 
different contributors, telling what they have 
learned by experiment and by experience, and 

The Writer. 


giving innumerable hints and ** dodges " for 
effective photographic work. For instance, in 
the 1894 issue are articles on ** Doubles — 
How to Make Them," *' Chalk-plate Engrav- 
ing for Photographers," ** Photographing Snow 
Scenes," ** Vignetting for Landscapes," " On a 
Certain Dark-room," " Electric Light for the 
Dark-room," "A Thorough Print-washer," 
••Picture Frames and Mats," "Photographs 
of the Window Side of Rooms," ** Amateur 
Home Portraiture," and scores of other contri- 
butions on topics equally interesting to all who 
use the camera. Following these are more 
than eighty-closely printed pages of standard 
formulas and useful recipes. In addition, 
there are lone lists of camera clubs, new books 
on photography published during the year, and 
other matters of record and reference, while the 
book is illustrated with from twenty-five to 
thirty pictures, all of the most artistic kind. 

w. H. H. 

Amateur Photography. A practical ^ide for the beginner. 
By W. I. Lincoln Adams. Second edition. 90 pp. Paper, 
50 cents. New York. The Baker & Taylor Co. 1893. 

Mr. Adams is the editor of the Photographic 
Times, " The American Annual of Photography," 
"The Photographic Instructor," etc., and he 
is wholly competent to write as an expert on 
photographic subjects. His '* Amateur Photog- 
raphy " is a book for beginners in the science 
of picture-taking, and its special merit consists 
in the clearness with which his directions re- 
garding the various processes are given. 

w. H. H. 

Photography at Night. By P. C. Duchochois. 108 pp. 
f^per, $1.00. New York: The Scovill & Adams Company. 

Photography by artificial light has been made 
so easy and there is so much pleasure in it 
that a book devoted expressly to the subject 
will be generally welcomed. Mr. Duchochois 
thoroughly understands what he is talking 
aJbout, and his book contains almost everything 
that is known about flashlight photography up 
to the present time, but study is required on 
the part of the non-expert reader in many cases 
to get at the full meaning of what he says. 
The author himself recognizes this fact, saymg 
at the beginning of the final chapter: "This 
book has not been written for those who do 
not know the rudiments of the art." Those 
who are sufficiently well-informed to follow 
him intelligently, however, will find in the 
volume many useful hints. w. h. h. 

A Japanbsb Interior. By Alice Mabel Bacon. 27a pp. 
Cloth, $1.25. Boston: Houghton, Mifflin, & Co. 1893. 

Miss Bacon's first book, '* Japanese Girls and 
Women," was so entertaining that this new 
volume, made up from her letters home during 
a fifteen-months' residence in Japan, beginning 
in 1888, will find an audience already prejudiced 

strongly in its favor. The author went to 
Japan to become a teacher in a Tokio school 
for girls of noble families, and during her stay 
there lived in a house half Japanese and half 
foreign, associating intimately with the most 
refined and cultivated of Japanese women, and 
having every opportunity to see and study 
Japanese home life. The letters from whicn 
she has made up the present book are a daily 
chronicle of events, sights, and impressions, and 
picture life among the Japanese from a point 
of view which the ordinary foreign visitor 
cannot reach. ** A Japanese Interior " and 
** Japanese Girls and Women " together give 
the best idea that it is possible to obtain of 
modern home life in Japan. w. h. h. 

The Lover's Lbxicon. By Frederick Greenwood. 3.^3 pp. 
Cloth, $1.50. New York: Macmillan & Co. 1894. 

"The Lover's Lexicon" is described by its 
author as "a handbook for novelists, play- 
wrights, philosophers, and minor poets; but 
especially for the enamoured." Its plan in- 
volves a series of essays on words connected 
with the affections, beginning with "abhor- 
rence " and ending with " wife." The essays 
are short, usually from one to three pages in 
length. "The enamoured," however, are much 
more likely to be interested in each other than 
in Mr. Greenwood's work. w. h. h. 

The Book op the Fair. An historical and descriptive pres- 
entation of the world's science, art, and industry, as viewed 
through the Columbian Exposition at Chio^o in 1893. By 
Hubert Howe Bancroft. Parts IV., V., VI., VI 1., and 
VIII. Each, 40 pages; paper, $1.00. Chicago and San 
Francisco : The Bancroft Company. 1894. 

The high standard set by both author and 
publishers in the first parts of the sumptuous 
Bancroft " Book of the Fair " is fully main- 
tained as the succeeding parts are issued. The 
unusual quality of the work is evident at a 

fiance to any one who glances through the 
road and handsome pages. The artistic ex- 
cellence of the illustrations, the attractiveness 
of the heavy plate paper, the good taste shown 
in the printing of the work, and the literary 
skill with which it has been written combine to 
make the book in all respects worthy of its sub- 

i'ect, — the greatest exposition that the world 
las ever seen. 

Part IV. continues the description and illus- 
tration of the government and administration 
departments, and begins the interesting chap- 
ter on the manufactures of the United States, 
as they were exemplified in the great manu- 
factures' building. All the important exhibits 
are adequately described, and scores of the 
finest half-tone illustrations, equal in all respects 
to the photographs from which they were repro- 
duced, show the contents of the building and 
the great structure itself, both inside and out. 

In Part V. the chapter on American manu- 
factures is concluded, and the chapter on icyc- 


The Writer. 

eign manufactures is begun. The pictures of 
exhibits are exceptionally fine. 

Part VI. concludes the description and illus- 
tration of the foreign manufactures exhibits, 
and begins Chapter X., devoted to the depart- 
ment of liberal arts. The liberality with which 
the work is illustrated is shown by the fact that 
there are three full-page pictures and 112 
smaller pictures in the forty pages of this 

In Part VII. the chapter on liberal arts is 
finished, and the woman's department is taken 
up. The pictures of laces shown in this part 
are wonderfully clear and delicate, and the 
progress made by women in the arts and 
sciences is illustrated in detail. 

Part VIII. opens with a further account of 
the wonders that were gathered together in the 
woman's building, and begins a lavishly illus- 
trated account of the exhibits in machinery 

The " Book of the Fair " will be completed in 
twenty-five parts, and will comprise in all 1,000 
imperial folio pages. It is a pleasure to learn 
that financially, as well as otherwise, the work 
is an assured success, more than 100,000 sub- 
scriptions having already been sent in to the 
publishers. w. H. H. 


Printed Noteheads for Authors. — I find it 
useful to have printed noteheads for my busi- 
ness correspondence. They do not cost much, 
and they are convenient in dealing with editors 
and publishers. They are very simple — just 
plain half-sheets of note paper with my name 
and address printed in light-faced Gothic type 
in the upper left-hand corner, in some such style 
as this: — 

John James Jones, 

J0NE8VILLE, Alabama. 
34 Jones Street. 

It is in bad taste, I think, to have anything like 
"Special Writer" or "Literary Journalist" 
printed with the address, but it is convenient 
to have the address printed, because it saves 
writing, and print is more legible than penman- 
ship. L' o. s. 

Nbw Haven, Conn. 

A Chatelaine Note-book. — Among the "de- 
vices" with which The Writer is teeming, I 
find none that meets my needs in one very es- 
sential respect. Being of the feminine persua- 
sion, I lack that one great convenience which 

stamps the superiority of the reporter of the 
genus male — pockets. A man can carry his 
pencils in a vest pocket — yea, even a foun- 
tain pen will retain its uprightness, and, there- 
fore, its ink, in his care. But we women 
who have tried it know to our cost, literally, 
the results of putting such a pen into our 
pockets, while cloaks render its position in a 
" holder " pinned to the dress waist an uncom- 
fortable one. Then a man can have note-books 
galore; for is he not furnished with indefinite 
opportunities for carrying them, in pockets in 
front and pockets behind, pockets to the 
right and the left, pockets below, and pockets 
above. If one fails him, there are others at 
his call. But a woman — if she has a pocket, it 
is likely to be unget-at-able ; and if she is not 
dressed with a reasonable regard to the prevail- 
ing style, no paper will send her on its missions. 
What is she to do, unless she burdens her 
hands with said materials ? and then, on a rainy 
day, for instance, how can she carry an 
umbrella ? No, we need a note-book that can 
be hung on a chatelaine hook, that will carry 
note-papers for all our needs, and pencils or 
pens, as well, and, moreover, one that can be 
used as a tablet for writing, and, though laid 
aside when not in service, can be brought into 
instant and convenient use at need. I see it 
" in my mind's eye," this much-to-be-desired 
combination. If some one does not hurry to 
invent it for me, I l\ereby give notice that I 
shall do it for myself, for the present state of 
affairs is too inconvenient for women journal- 
ists. A. M. G. 
Oak Park, 111. 


[The publisher of Thb Writbx will send to any address a 
copy of any magazine mentioned in the following reference list 
on receipt of the amount given in parenthesis following the name 
— the amount being in each case the price of the periodical, 
with postage added. Readers who send to the publishers of the 
periodicals indexed for copies containing the articles mentioned 
in the list will confer a favor if they will mention Thb Writbs 
when they write.] 

LiTBRARV Mendicancy. LippincotCs Magazint (a8c. ) for 

The Duty of Educatbd Mbn in a Dbmocracy. £. L. 
Godkin. Forum ( 28 c. ) for March. 

Lowbll in His Lbttbrs. John W. Chadwick. F^rum 
(28 c. )for March. 

The Writer. 


FRANas Parkman. With portrait. James Schouler. Har- 
■vard Graduates' Magazine ( 53 c. ) for March. 

PiONBBRS OP Southern Litbraturb. S. A. Link. New 
England Magazine ( 28 c. ) for March. 

John Ruskin at Home. M. H. Spielmann. McClure's 
-Jdagatine ( 18 c. ) for March. 

Professor Tyndall. Herbert Speocer. With portraits. 
JUcClure^s Magazine ( 18 c. ) for March. 

The Author and His Book. The Point of View. Scrib- 
tier's Magazine ( 28 c. ) for March. 

Dramatic Criticism. Bram Stoker. North American 
.Review ( 53 c ) for March. 

Rbcbnt Improvements in Public Libraries. £. C. 
Hovey. North A merican Review ( 53 c. ) for March. 

Lord Byron And the Grbbk Patriots. Rev. Henry 
Hayman, D. D. Harper^ s Monthly ( 38 c. ) for February. 

Bbnjamin Frankun. Brander Matthews. St. Nicholas 
(as c ) f or February. 

Tub Dbad-lbttbr Office. Patti Lyie Collins. St. Nicho- 
las ( 25 c. ) for Febrxiary. 

Laurbns Alma-Tadbma. With portrait. Ellen Gosse. 
■Century (38 c. ) for February. 

Criticism and Culture. James Russell Lowell. Cen- 
tury (38 c.) for February . 

Lincoln's Gettysburg Address. With fac-simile of the 
original manuscript. John (.i. Nicolay. Century (3& c. ) for 

Thb Rights of Unknown Authors. Crn/wrj' ( 38 c. ) for 
Rbv. Emory J. Haynbs, D. D. With portrait. Journalist 
-< 13 c. ) for February 1 7. 

Frederick M. Sombrs. Alfred Balch. Journalist ( 13 c. ) 
for February 17. 

Constance Fbnimorb Woolson. With portrait Henry 
Mills Alden. HarperU Weekly ( 13 c. ) for February 3. 

Thb Original of Sherlock Holmes. Harper's 
Weekly { 13 c ) for February 3. 

George William Childs. With portrait. Talcott Wil- 
liams. Harper's Weekly ( 13 c. ) for February 10. 

David Dudley Field. With portrait. Harper's Weeklg^ 
( 13 c. ) for February 17 

Julian Ralph. With portrait. Harper's Weekly ( 13 c. ) 
for February 24. 

Con'stancb Fbnimorb Woolson. With portrait. Mar- 
garet E. Sangster. Harper's Bazar (13 c.) for February 3. 

Rbminiscbnces of George William Childs and His 
Homb at Wootton. Mary Wager Fisher. Harper's 
Bazar ( 13 c. ) for February 17. 

Constance Fbnimorb Woolson. With portrait. Chicago 
Graphic (13 c.) for February 10. 

George MacDonald. With portrait. Chicago Graphic 
(13 c. ) for February 24. 

Litbraturb for Children. John Habberton. New York 
Ledger (8 c ) for February 17, 

Professor Tyndall. Professor Huxley. Reprinted from 
Nineteenth Century in LitteWs Living Age (21c.) for Febru- 
ary 3- 

Chinese Poetry in English Verse. Herbert A, Giles. 
Reprinted from Nineteenth Century in LitteWs Living Age 
(21 c. ) for February 10. 

The Early Life of Pbpys. C. H. Firth. Reprinted 
from Macmillan's Magazine in LittelVs Living Age (21 c. ) 
/or February 17. 

Beginnings of American Dramatic Literature. Paul 
t'l^eicester Ford. New England Magazine ( 28 c. ) for February. 

Palmer Cox and the Brownies. Fannie Ratti. St. 
Nicholas for January. 

Ambrose Bibrcb. With portrait. Inland Printer (23 c.) 
for February. 


An interesting public document is a pam- 
phlet on " The Spelling Reform," by Professor 
Francis A. March, president of the Spelling 
Reform Association, which has just been issued 
by the National Bureau of Education. It is a 
revision and enlargement of the author's pam- 
phlet published by the Bureau of Education in 
1 88 1. An appendix gives a long list of amended 
spelling;s recommended by the Philological So- 
ciety of London and the American Philological 

" Droch," the name signed to many of the 
book reviews in Lifiy is the pseudonym of 
Robert Bridges, assistant editor of Scrtbner's 
Magazine, The series of clever literary 
studies in dialogue form which he has recently 
contributed to Life will be published soon in 
book form by Charles Scribner*s Sons. 

Toilettes (New York) for April is already 
out, most attractively illustrated with spring 
novelties in fashions, embracing designs by 
Worth, Felix, and other famous fashion artists. 

In the April number of St. Nicholas will 
begin a new serial, entitled "Jack Ballister's 
Fortunes," by Howard Pyle, which will run for 
more than a year. 

The Evangelist relates that, when somebody 
once asked Dr. Philip Schaff how he was able 
to accomplish so much literary work, he replied, 
laughingly: "Oh, that's easy. You must get 
up early, and sit up late, and keep awake all 

Alphonse Daudet says: "It often happens 
that letters from foreign countries are ad- 
dressed to me at the French Academy, in the 
supposition that I am one of its members. 
These letters are almost always returned to 
the post-oflTice, with the remark, * Unknown 
to the French Academy,* written on the en- 
velope. There is no harm in this, since the 
post-office knows where to send my corre. 
spondence. But the formula is droll. I have 
often given evidence oC vt^ •ac^\^Jcv^^^^^sf^^.'^■ 

, >> 


THE Writer. 

Mrs. Humphry Ward has returned to Lon- 
don to superintend the publication of her new 
book, which is to appear early in March. 

The death of R. M. Ballantyne will come as 
a shock to all boys, young and old, for whom 
he has been writing stories since 1848, when he 
was but twenty-three years of age, though he 
had already been residing for six years in the 
Hudson Bay country. 

Mrs. Isabella Bird Bishop, the traveller, has 
just started upon another journey, although she 
is now sixty years old. She is at present 
crossing the United States on her way to 
Vancouver, whence she is to sail for Japan. 
Whether she goes farther will depend upon 
her health. She owns a pretty cottage in Scot- 
land, and there she spent last summer and 
autumn in thoroughly mastering the technique 
of photography in preparation for her journey. 
She will now be able to illustrate her own 

The Godey Publishing Co., of New York, 
made an assignment February 8 for the benefit 
of its creditors. The assignee, Benjamin S. 
Harmon, announces that a syndicate is being 
formed for the purpose of purchasing the plant 
and good will of Godeyi^s Magazine^ and the pub- 
lication of it with new capital and improved 
facilities. In the mean time the March num- 
ber is being printed. 

In an interesting article on " Photography 
and Law" in the February number of the 
American Amateur Photographer (New York ) 
it is stated that Judge Wheeler, of New York, 
decided in January of this year that a news- 
paper which publishes an infringing copy of a 
picture of which a photographer holds the legal 
copyright cannot justify such publication on 
the ground that it was made for the benefit and 
by direction of the subject of the picture, who 
has an equitable ownership in the copyright, 
unless such direction is first procured in writ- 
ing, attested by two witnesses. The law stands 
that if any person after a photograph is copy- 
righted and without first obtaining the consent 
of the proprietor in writing, signed before two 
witnesses, shall publish the picture, he shall 
forfeit one dollar for every copy of the publica- 
tion found in his possession. 

"Poets in Exile," the leading article in the 
Critic for February 24, is an account of the 
delightful home-life in Ireland of Mr. and Mrs* 
J. J. Piatt, who have lived for years at Queens-^ 
town, as the official representatives of America. 
Their historian is Miss Katherine Tynan, the 

A biography of J. G. Holland, by Mrs^ 
Thomas F. Plunkett, a life-long friend, is 
announced by the Scribners. 

The publishers of Demoresfs Family Maga- 
zine ( New York) offer a prize of $100 for the 
finest collection of photographic views illustrat- 
ing a subject of popular interest and suitable 
for a magazine article. The subjects may be 
foreign or domestic ( preference will be given to* 
the latter), the only stipulation being that the 
photographs have never been used for publica- 
tion. The competition will be open untiB 
August I, 1894. Contributions which do not 
win the prize, but are available for publication,, 
will be accepted and paid for at regular rates. 

G. Hedeler, of Leipzig, Germany, is compilings 
a list of private libraries in America. He already 
has 500 libraries entered, and asks possessors of 
private libraries with whom he has not been 
able to communicate to send him information 
about the size of. their collections, and the 
specialties to which they devote themselves. 

Mrs. Lydia Hoyt Farmer, editor of "What 
America Owes to Women," who recently sent 
a white-and-gold copy of the book to Queen 
Victoria, has received a reply dated ** 22 Feb- 
ruary, 1894, Privy Purse office, Buckingham 
Palace, S. W.," which reads as follows : " Sir 
Henry Ponsonby is commanded by the Queen 
to thank Mrs. Lydia Farmer for her letter, and 
for the volume which she has sent for Her 
Majesty's acceptance." 

It may not be generally known that Oliver 
Wendell Holmes was the inventor of the 
"American Stereoscope." Wilson's Photo- 
graphic Magazine (New York) for March 
prints an interesting letter from him telling 
how the first stereoscope came to be manu- 
factured, and illustrates the article with an 
admirable portrait of Dr. Holmes. Particular 
attention is given in the March number of the 
magazine to the making of stereoscopic pictures. 




Vol. Vn. 


No. 4. 

Entered at the Boston Post-office a8 second-class mail matter. 

CONTENTS ; pagb 

Thb Dialect Nuisancb. H^illiam B. Chiskolm. ... 49 

Thrbb Litbkary Parablbs. Harriet Cushman IVUkU. 50 

Thb Early Drama. C S. Palmer 51 

Nabos for Aggrbcations of Units. Beth Day. ... 5a 

Birth of THB "Etching." Wallace D. Vincent. . . . 53 

Editorial 54 

Credit to Authors as Well as to Periodicals, 54 — 
Celerity in Composition, 54 — Prize Offers and Changes 

in the Publishing World 54 


DiALBCT Again. Mary A . Deniscn 55 

Editors and Publishers. Mary A. Denisen 55 

Book Rbvibws 56 

Hblfful Hints and Suggestions 59 

Memorandum Paper, 59 — Tablet Covers for Manu- 
scripts, 59 — Pencils Sharpened at Both Ends, 60— 
Filing Cuts and Biographies, 60 — Ink for Writing on 

Ghsst 60 — Saving Manuscript Paper. 60 


Nbws and Notbs 6a 


A recent clever travesty in The Writer on 
the prevailing craze for dialect suggests the 
thought — probably a most obvious one — that 
the evil of dialect is not in its use, but in its abuse. 
The accepted standards of good English are 
the same all over this country, and American 
people are too critical, as a rule, not to laugh 
down and out any lingering remains of country 
gaucherie of this kind among those who would 
aspire to be considered well-bred. It may be 
a toothsome morsel for the dialect writer to 
picture the New Englander as saying " beyant " 
for " beyond," or the Southerner as using that 
vilest of Cracker provincialisms, *• we uns," for 
•• we " ; but it is a ridiculous slander upon the 
ordinarily well-educated classes of either sec- 

tion to put such speech into their mouths — 
just as ridiculous as it would be to put the 
stilted language of Sir Walter Scott*s heroes or 
heroines into the mouths of the tense, curt, 
monosyllabic business men of our great cities 

The roll of the "r " in the central North and 
West, and its inevitable ellipsis in the South, 
are more orthodox subjects for employment in 
dialect. But even here the rapid multiplication 
of the means of communication between the 
two sections, the instinctive prejudice of the 
average American against provincialisms or 
singularities of speech, more frequent inter- 
marriage and association, these, and many 
other causes, are helping to form for us all a 
purer and more universal accent and pronun- 

The use of dialect where it is not essential to 
the subject is a great mistake and a confession 
of weakness ; but if it is necessary, it should 
be treated so as to show that the leading object 
is not to mirror dialect itself, but that it comes 
in as an accidental, or, at best, an incidental, con- 
sideration. And the writer who employs dia- 
lect should impose upon himself very severe 
limits, refraining from swamping the real inter- 
est of his subject matter by a persistent carica- 
ture. The delicate and evasive peculiarities of 
speech in this and that section of our common 
country are worth noting and preserving, but 
only as subordinate to the plot and general 
treatment of the subject matter. In picturing 
old negro life in the South the use of dialect in 
a guarded way is necessary. But even then 
care should be taken to pronounce and spell in 
the ordinary way many words which the average 
negro always pronounces and spells correctly. 

Copyright, 1894, by William H. Hills. All ri^ts reserved. 


The Writer. 

and did so pronounce even before he had the 
present advantages of schools and a general 
newspaper education. It is impossible to treat 
the dialect of any people properly, unless you 
have mingled with them freely and for some 
duration of time. The speech of the average 
New Englander is concise, clear-cut, and not 
especially characteristic; but the writers who 
have attempted to make dialect out of it have 
succeeded in many instances in turning it into 
a hideous jargon. Of course it is a strong 
temptation to a writer to force dialect into his 
story if he thinks that it will enable the story to 
sell ; but after a while even the worm turns, and 
the long-suffering public will not alwa3rs be out- 
raged by this avalanche of words without fit- 

ness — a mangling and debasing of the noblest 
language on earth, and a determined craze for 
putting its vilest distortions into the mouths 
even of its educated and refined people. No 
polished or cultivated New Englander ever said 
** be3rant " for " beyond " ; and if there are peo- 
ple in the South who ever give utterance to that 
monstrosity, " we uns" or "you uns,'*they must 
live away up in the hills or else down in the 
very tangles of the rice jungles or the pine 

Dialect should not be rashly tabooed, but it 
should be held severely in leash, so to say. It 
is a good servant, but an odious master. 

William B. Chisholm. 

Elmira, N. Y. 


" Now, Barabbaa was a — publisher." 

A butcher calls at the door and offers a fine 
sweet ham, neatly cased. The mistress agrees 
to buy it, saying, however, that it is against her 
rules to pay for any article until the whole of it 
is eaten. The butcher, knowing that there are 
many carts on the road laden with hams just as 
finely cured as his, ruefully accepts the terms, 
and, when a price is settled, departs. 

After keeping the ham for two years in a 
dusty, musty cellar, the housekeeper returns it 
to the butcher, soiled and stale, saying that, 
after all, her family prefers fresh meat, and she 
has decided not to cook the ham. 

One spring morning a farmer knocks at the 
kitchen door of a city house, with a basket of 
fresh-laid eggs for sale. The mistress ex- 
presses delight at obtaining them, declaring, 
however, that it is her invariable custom to pay 
for articles after they have appeared on her 
table, and then only such a price as she thinks 
fit. Expecting an early settlement under those 
conditions, and being in need of cash for the 

interest on the mortgage on his farm, the man ac- 
cepts the lady*s terms and departs. Week after 
week and month after month go by, but no pay- 
ment is made for the eggs. When he calls at the 
house to inquire, the maid informs him that her 
mistress bids her say that the great variety of 
seasonable articles of food has prevented the use 
of the eggs, but that she hopes very soon to find 
a place tor them on her menu. In the autumn 
the farmer is surprised to have the maid hand 
him the basket, saying that, as the eggs have lost 
their freshness and are uneatable, her mistress 
returns them, with thanks for the opportunity for 
purchasing, and hopes that the farmer will call 
whenever he is in town and allow an examina- 
tion of his stock. 

The third of these true parables relates to a 
greengrocer and some crisp blanched lettuce 
which he is requested to leave for the house- 
keeper's examination at her leisure. After a 
time a messenger leaves a package at the green- 
grocer's shop. On opening it he finds his let- 
tuce, wilted and bruised, and these consolatory 

The Writer. 


iivords : '* Owing to no lack of merit, but because 
lettuce is not exactly available for my table, I 
return these heads, with thanks for the oppor- 
tunity for examining them." 

And here endeth the parables, and the tnra- 
ing of the worm. 

HarrUt Cushman WUkU, 

Summit, N. J. 


It is probable that few of the many thousands 
'vho each year attend the modern theatres think 
'Oi the time when priests and monks acted parts 
4]pon the stage, and many scenes of the plays 
^ere founded upon scripture history. Yet, 
were we to trace the history of our modem 
^rama back to its origin, we should find that 
the priests were the first actors, and the first 
plays were representations of scripture scenes. 

It was in the middle ages, in the beginning of 
the thirteenth century, when these plays were 
£rst introduced. Pilgrims, coming from the 
Holy Land, related, on the street corners of the 
iarge towns, their experiences, and also recited 
legends in which Christ and the apostles were 
the chief actors. These recitals greatly inter- 
ested the simple people of those times ; so much 
so, in fact, that the priests, who were laboring 
in the cause of the church, devised from them 
a means of strengthening their own power and 
inculcating into the popular mind the true prin- 
ciples of the Christian religion. They took 
the legends which the pilgrims were reciting, 
arranged them to suit their purposes, and acted 
them upon the stage. Such was the origin of 
the Mystery Plays, — the precursors of the 
modern drama. 

For a tew years after the first play was pre- 
sented the results were all that could have been 
hoped for by the most sanguine of the priests. 
Their primitive theatres were filled to over- 
flowing; the plays were received with enthu- 
siasm and delight; and the truths presented 
seemed to be grasped and appreciated by the 
audiences. But, as time went on, the priests 
sought to improve the plays by introducing 
more unique and popular characters. The 

people were delighted with the change, and the 
priests, unable to distinguish between cause 
and effect, continued to add droll characters, 
until the audience completely lost sight of the 
moral part, and occupied themselves only with 
the dramatic features. 

Thus the Mystery Plays degenerated into 
ludicrous absurdities, in which animals were 
worshipped, and in which sentiment was ex- 
pressed which would not tend to elevate the 
moral tone of any people of any age. The 
farcical element became paramount; and, in 
the north of France, that most docile of crea- 
tures, the ass, was elevated to a high rank upon 
the stage. The bishops at last came to see 
the absurdity of the plays, and banished them 
from the precincts of the church. This was 
the first separation of the altar and the stage. 
The priests withdrew, but their work did not 
end. People from other ranks assumed the 
characters of Christ and the apostles, and con- 
tinued to write and act plays which were 
founded upon Biblical history. The interest 
of the people continued to grow. If one play 
occupied a day, with only short intermissions 
for meals, it suited them so much the better ; 
and if the ass, now and then, made the air 
vibrate with a sonorous "hee-haw," so much 
the more were they pleased. 

In France scenes and decorations were first 
introduced. The stage was divided into three 
portions, with heaven above, the earth below, 
and hell beneath the earth. Heaven was deco- 
rated with bright flowers and showy carpets, 
while hell was made to look dark and gloomy 
and to savor strongly of brimstone. The wholft. 
company^ inclMdvci^ ^^'t 'aa&^'a&'s>fc\s>i?^^^ <aj^ ^^^ 


The Writer. 

stage, and each appeared when his cue was 
called. All the actors appeared in a sportive, 
rather than a religious, air; and, if their acting 
was a true index of their feelings, it is apparent 
that they did not have a very solemn sense of 
the holiness of the subject which they were try. 
ing to represent. Hell did not seem to them a 
very hot place ; and, if the true inwardness of 
their motive could have been ascertained, it 
would have been love of show and approbation, 
rather than a desire to teach the truths of the 

The characters which were represented ap- 
pear to us in a most ludicrous light. Judas 
carried under his coat a blackbird and the 
entrails of an animal, so that when his soul 
'took its flight, it might go in the shape of a 
blackbird and his entrails might bs strewn over 
the stage, according to history. King David 
was represented as quarrelling with his wives, 
and then calling loudly for a glass of beer. In 
one German play Cain and Abel were examined 
by the Lord to ascertain their proficiency in the 
Lord*s Prayer. Abel passed a creditable exam- 
ination, but Cain hardly received a '* paiss,'* not- 
withstanding the fact that his father stood near 
to prompt and encourage him. Another favor- 
ite scene, illustrating the sorrows of hen-pecked 
husbands, was the scene of the flood and Noah 

and his family entering the ark. " Noe's Wif •*' 
was the principal character, and refused to enter 
the ark unless she were allowed to bring with 
her " her gossips every one." The devil, too, 
played a no small part His business was tO' 
amuse the groundlings. He was rigged up so* 
as to look repulsive and hideous, and in one 
play was mistaken for a dancing bear. 

The Mystery Plays, in the character which 
I have above described, continued to be acted 
upon the stage until near the close of the six- 
teedth century. At that time abstract imper- 
sonations, such as Vice, Virtue, and Mercy, g^rad- 
ually took the place of the scriptural characters. 
The new plays were called Moral Plays, and 
were designed to teach some ethical precept.. 
They flourished in the reign of the Tudors, and 
reached their highest perfection in the reign of 
Henry VII. The devil was still retained, andr 
his part, as in the Mysteries, was to create a. 

It was in the reign of Elizabeth, when the 
people had become too enlightened to be inter- 
ested in devils and allegorical characters, that 
the interest in the Moral Plays began to ebb. 
Human passions then replaced the mjrthical 
elements, and the Moral Plays gave way to the: 
modern drama. C. S. Palmer. 

Elbridgb, N. Y. 


It is a curious fact, says a newspaper para- 
graph, that the English language has a different 
word to designate nearly every kind of beast or 
bird in groups. It might have added fish and 
human beings as well; in fact, almost every 
aggregation of units. 

To those who make a study of the oddities of 
the language, the following list may prove inter- 
esting. Nearly all the terms here given are in 
common use : — 

A collection of boats is called a fleet; of 

fleets, a navy ; of rays, a beam ; of rubbish, a 
heap ; of books, a library ; of papers, a lot 

Of bees, a hive, colony, swarm, or cast; of 
locusts, a cloud, plague, swarm, or army. 

Of herring, a shoal ; of cod, a run ; of whales, 
a school ; of porpoises, a shoal. 

Of partridges, a covey ; of pheasants, a nide ; 
of snipe, a whisp ; of quail, a bevy ; of herons, 
a sedge ; of peacocks, a muster or strut ; of 
doves, a flight; of rooks, a building; of grouse,, 
a brood; of plovers, a stand; of wild-fowl, a. 

The Writer. 


^lump ; of geese, a gaggle or lag ; of wild geese, 
;a flock; of choughs, a clattering; of nightin- 
j^^ales, a watch; of swans, a whiteness ; of dot- 
-trelly a trip ; of ducks, a team ; of brant, a gang ; 
of pigeons, a company ; of larks, an exaltation ; 
•^ hawks, a cast 

Of serpents, a nest. 

Of dogs, a kennel, or pack ; of foxes, a skulk ; 
>of monkeys, a troop; of wolves, a pack; of 
lions, a pride; of bears, a sleuth; of buffaloes, 
.a herd; of oxen, a drove; of sheep, a flock; of 
Jiogs, a sounder ; oi swine, a herd ; of mules, a 
'drove ; of horses, a troop or stud. 

. Of robbers, a band ; of ruffians, a horde ; of 
rowdies, a mob ; of troops, a body ; of sailors, 
a crew; of children, a troop; of people, a 
crowd ; of soldiers, a company ; of companies, 
a regiment; of regiments, a corps; of corps, 
an army; of officials, a board; of lawyers, a 
bar ; of judges, a bench ; of delegates or sena- 
tors, a congress; of engineers, a corps; of 
barons, a baronage; of beauties, a galaxy; of 
worshippers, a congregation ; of angels, a host* 
This list is not exhaustive, and no doubt 
many can add to it. Befh Day, 

South Kaukauna, Wis. 


Once upon a time an author wrote a story of 
'six thousand words, had it neatly typewritten, 
-and sent it to a leading magazine. After 
-twenty-eight days it was returned with thanks 
-and a ifiumb mark on the first sheet. After 
^renovation, the story went the rounds of the 
magazines, the high-class weeklies, and the 
Sunday newspapers. 

Then the author concluded that it lacked 
humor. He inserted some humor, and the 
story made another return trip. Then he 
added a little pathos, more excitement, deeper 
action, and stronger characters ; and after each 
change the story was rejected. 

The author could think of no more changes 
to make. He knew that the story was good — 
- or had been; and, as a last resort, he took it to 
. a friendly editor, who had not received a call 
from this particular manuscript, and begged 
him to look over it and tell him what was 
-wrong. The editor took the story, and prom- 
ised to read it as soon as he had time; 

Five years afterward, the editor found the 
«tory and the time to read it, and proceeded to 
'Ornament it with his blue pencil. When the 
author examined the manuscript he was as- 
tounded to find every paragraph, except the 

first, crossed out. Now the author had sworn 
a terrible oath not to add a single word to the 
story, come what might. He had sworn also to 
try once more. So he read the sole remaining 
paragraph, which follows : — 

** Farmer Gabriel Sumner stood looking at a 
black speck which moved slowly up the icy 
mountain side. The wind was rising, and great 
clouds of snow scudded along before him, often 
shutting out of view the moving speck. At 
such times he leaned forward, straining his 
eyes to their utmost, and held his breath in sus- 

That was all. What could he do with it? 
After an hour of intense thought, he remodelled 
it thus : — 

" Farmer Gabriel stood looking. 

** Before him, an ice-covered mountain side. 
On its white slope, a black speck. Occasional 
gusts of snow-laden wind. Farmer Gabriel 
stood looking. 

" Upward moved the speck. The elements 
sought to shut the mountain from sight. The 
farmer leaned forward, with straining eves and 
bated breath. Upward moved the specx. 

" Farmer Gabriel stood looking." 

The " etching " was born. 

Wallace D, Vincini. 

BsooiCLVN, N. Y. 


The Writer. 

The Writer. 

TvMUk»d monthly by The Writer Publishing Company, aSa 
Washington street, Rooms 9 and 10, Boston, Mass. 



%*Tia Wkitbx is published the first day of every month. 
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%* Contributions not used will be returned, if a stamped and 
addressed envelope is enclosed. 


a8a Washington Street (Rooms 9 and 10), 

( P. O. Box 1905. ) Boston. Mass. 

Vol. VIL 

April, 1894. 

No. 4. 

Short, practical articles on any topic con- 
nected with literary work are always wanted 
for The Writer. Literary people are invited 
especially to send in suggestions for the *' Help- 
fnl Hints " department, and items of information 
about any literary work on which they may be 
engaged. The chief object of The Writer is 
to be a magazine of mutual help for authors, 
and its pages are always open for anything 
practical which may tend in this direction. 
Bits of personal experience, suggestions regard- 
ing methods, and ideas for making literary 
Work easier or more profitable are especially 
desired. Articles must be short, because the 
magazine is small. 


Editors of periodicals are popularly supposed 

to lay more or less stress in buying ** contribu- 

tions " on the value of a well-known name, but 
in making up the quotation-sheets that they- 
send out to the newspapers some of them do* 
not seem to act in accordance with this theory.. 
For instance. Harper's Weekly recently had a 
quatrain, " Life's Contrasts," signed " T. B. A." 
— initials which will be quite generally recog- 
nized. In the quotation-sheet the quatrain was 
credited simply ''Harper's Weekly:' The 
editor of Life often omits the names of contrib- 
utors from the credits on his quotation-sheet^ 
sometimes even when the knowledge of the 
author's name would increase the reader's inter- 
est in the poem. Other editors make the same 

♦ ** 
The proper way, of course, in such cases is 
always to give credit to the author of the quo- 
tation as well as to the periodical from which it 
has been taken. This is the practice of all. 
careful newspaper editors, and it is only just 
that this should be the rule. In the long run 
it will be for the advantage of the periodicals 
to have proper credit given to the author whose 
stories or whose poems they have bought. It 
is strange that their editors do not see this- 
more clearly, and in consequence use more care^ 
in making up their regular quotation-sheets. 

An editor recently received two poems, with 
a letter saying : — 

"These are the first efforts I have ever sent to any news- 
paper. If there is any merit in them, please publish ; if not,, 
you know what to do with them. I would like very much to ■ 
have you publish the poem, ' To Lizzie.' The other I wrote 
in a very short time — about two hours.'' 

The poem which was written in a very short 
time — about two hours — consisted of four 
four-line stanzas. It might have interested the 
author of it, perhaps, to know that Rev. Dr^ 
Smith says he wrote the national hymn,. 
"America," in something less than thirty 

One of the advantages which readers of The 
Writer have over other writers is that the 
magazine gives them prompt information of 
prize ofiEers made for manuscripts, as wett as. 
news of important changes in the pnblishifi^ 
world, such as removals of publishers or 

The Writer. 


aiagaiiiies, suspensions or consoKdattons of 
periodicals, announcements of new periodical 
publications, failures of publishers, the estab- 
lishment of new firms, and other similar infor- 
mation, which is of the greatest importance to 
all writers. In this issue of the magazine, for 
instance, there are announcements of four 
prize offers, together with news of many im- 
portant changes in the magazine and book pub- 
lishing world. No literary worker can be sure 
of being up to date who does not read The 
Writer regularly. w. h. h. 


[ Qvestkms relating to litenry work or literary topics will be 
answered in this department. Questions most be brief, and 
ci general interest. Questions on general topics should be 
directed elsewhere.] 

( I. ) Would it do to send the accompanying 
illustration to a story you have translated along 
with the manuscripts Could another cut be 
taken from that ? 

( 2. ) In translating a story is it necessary to 
give the name of the author, or is it sufficient 
merely to say : " Translated from the German," 
or the Swedish, or some other language ? 

s. V. 

[ ( I. ) An illustration cut from any magazine 
or periodical can be reproduced either by photo- 
graphic process or by re-drawing. 

( 2. ) In crediting a translated story the name 
of the author should invariably be given. 
*' From the French of Victor Hugo," for ex- 
ample, is a good way of putting it. — w. h. h.] 


1 confess I am quite taken abacjc at the 
small whirlwind I have raised by my article on 
** Dialect," which was published in the January 
Writer, and which I protest was written quite 
in fun. I thought everybody would see that, as 
a matter of course, I meant the illiterate, whose 
use of the dialect is common, just as it is in 
Maine, Massachusetts, Connecticut, anywhere. 
I have lived too long in the South to wish or 
attempt to injure the feelings of any Southern 
person. Many of the Southerners by whom I 
have been surrounded for years are among my 
dearest personal friends. 

To say I was surprised at the way my little 
squib was taken would be expressing myself 
too mildly by far. I was almost hurt to think I 
was so little understood. 

The next time I ** try to be funny," which is, 
perhaps, not my forte, I will follow the ex- 
ample of the small children in their first 
attempts at drawing, who label their efibrts, 
'' This is a horse," or a cow, as the case may 
be. I will, in the inimitable language of Arte- 
mus Ward, write underneath, *^ This is a Goak." 
Far be it from me to disparage the great and 
glorious word-painters of the world. I like 
them, and I like dialect — in reason. 

And now, dear friends of the pen and pencil, 

that I have made my explanation, with my 

politest bow, J hope it will be acceptable to my 

most courteous critics. 

Mary A* Dinison. 
Wasningtom, D. C. 


I want to speak in commendation of that 
capital little article, "Both Ends of the Line," 
which was published in the February Writer. 
It is thoughtful, practical, and correct, and 
ought to be widely read. I also want to say a 
few words for the publishers I know. They 
are, with few exceptions, a noble set of men, 
and uniformly kind and courteous. The edi- 
tors of the Youtkis Companion are princes 
among their kind; so are those of Harper's 
VouHj^ Piopiiy and, in fact, of all of the Harpers* 
publications. I have had the honor to take 
refusals from them as well as acceptances, and 
in all cases my articles come back as spotless 
as they left my hands, barring sometimes the 
accidents of mail usage, and generally accom- 
panied by pleasant words from the editors 
themselves in their own handwriting. 

I think no gentleman will ever return a manu- 
script with no acknowledgment whatever. 

It is certainly sometimes very difficult — and 
Jean Halifax tells why — to know just what 
will be acceptable to the di£Eerent periodicals. 
The only way to get at a solution is to send the 
poem or sketch to one editor after another until 
it finds a market. In that way I seldom faiLu^ 


The Writer. 

place all my manuscripts at last, so that a 
return does not trouble me in the least. 

**But," says one, "that's what editors are 
paid for; they ought to be courteous.** No, 
they are not specially paid for being courteous, 
only for the work they do as Readers, and as 
writers for the press. No amount of salary will 
make a gentleman, if the instinct be not born in 

Having experienced their courtesy both here 
and abroad, I came to the conclusion long ago 
that editors were the hardest worked, and in 
general the most delightful, people in the world. 

Mary A, Denison. 

Washington, D. C. 


Thb Colok Printbr. A treatise on the use of colors ia typo- 
graphic printing. By John F. Earhart \yj pp. and oo 
colored plates. Cloth, $12.50. Gndnnati : Earhart & Rich- 
ardson. 189a. 

The most artistic book on printing that has 
ever come to the attention of The Writer is 
John F. £arhart*s monumental work, "The 
Color Printer.** It is a beautiful volume, 8X 
by \oyi inches in size, containing 137 pages of 
letterpress and ninety color-plates, printed in 
from two to twenty colors each. It is hand- 
somely bound in cloth, with edges marbleized 
and cover stamped in gold and fine colors. 
Some idea of the patience and technical skill re- 
quired for the production of such a work is 
given by the fact that to produce a limited edi- 
tion of it 625 different forms and 1,625,000 im- 
pressions were necessary. The book contains 
166 colors, hues, tints, and shades, produced by 
mixtures of two colors each, with the propor- 
tions printed below each color. A great variety 
of fine color effects is produced by printing col- 
ors in lines and solids over gold bronze, printed 
also in lines and solids. A diagram of comple- 
mentary colors, accompanied by simple rules 
for obtaining an endless variety of harmonious 
color combinations, is one of the most valuable 
features of the book. Another interesting feat- 
ure is a miniature landscape printed in ten col- 
ors, showing impressions of each block, both 
separate and as registered into its proper place 
as the picture grows toward completion. 
Specimens of embossing done on an ordinary 
job press are given, together with a description 
of the very simple method by which the work 
is done. There are thirty-nine lists of two- 
color combinations, containing more than 2,000 
diffierent combinations, and forty-two lists of 
three-color combinations, containing more than 
1,400 different combinations selected from the 

colors shown in the book. Each of these com* 
binations is marked as being good, very good, or 
excellent, making it easy for the printer follow- 
ing the book as a guide in practical work to select 
the best. In selecting these combinations, the 
author has been governed solely by the natural 
laws of harmony and contrast of colors. The 
book, accordingly, will answer the purpose of 
all those who desire to use colors intelligently 
and effectively, producing the best results in 
the simplest manner, without waste of time or 

To printers ambitious to do the best of color 
work, "The Color Printer** will be an invalu- 
able aid, and, as Mr. De Vinne has said, there 
is not a printing office in the country that uses 
$100 worth of color in a year that will not save 
the price of the book through using the exact 
formulas that are given for making tints. At the 
same time the book is sure to do much to raise 
the standard of color printing, and to improve 
the taste of every one who studies its delicate 
and artistic color combinations. Simply as a 
work of art, "The Color Printer'* will fascinate 
any one who looks at it ; from first to last it is 
an exquisite specimen of the perfection of the 

Crinter*s art. Its preparation has evidently 
een a labor of love with Mr. Earhart, and he 
has every reason to feel satisfied with his 
achievement. The price of the book now is 
$12.50 a copy, but an early advance in price is 
probable, for the edition is limited, and is selling 
very rapidly. It would be strange, indeed, if it 
were not, for the work is a masterpiece of typo- 
graphic skill, and is sure to be sought after, not 
only by printers, but by artists and book collec- 
tors everywhere, as well. w. h. h. 

Thb Foundations of Rhetoric By Adams Sherman HllL 
371pp. Cloth, $1.10. New York: Harper & Bros. 1893. 

No better idea of the nature and purpose of 
" The Foundations of Rhetoric ** can be given 
than by a quotation from the preface of the 

" For practical purposes,'* says Professor 
Hill, "there is no better definition of a good 
style than Swift's — Proper Words in Proper 
Places. * Differ as good writers may in other 
respects, they are all distinguished by the 
judicious choice and the skilful placing of 
words. They all aim ( i ) to use no word that 
is not established as a part of the language in 
the sense in which they use it, and no word that 
does not say what they wish it to say so clearly, 
as to be understood at once, and either so 
strongly as to command attention, or so agree- 
ably as to win attention ; ( 2 ) to put every word 
in the place fixed for it by the idiom of 
the language, and by the principles which gov- 
ern communication between man and man, — 
the place which gives the word its exact value 
in itself and in its relations with other words \ 

The Writer. 


and ( 3 ) to use no more words than are neces- 
sary to effect the purpose in hand. 

" If it be true that these simple principles 
underlie all good writing, they may properly be 
called The Foundations of Rhetoric. To 
help young writers to master these principles is 
the ODJect of the following pages. They are es- 
pecially intended for those who have had some 
practice in writing, but who have not yet learned 
to express themselves well. 

"The Introduction sets forth as simply, 
clearly, and compactly as possible the leading 
facts of English grammar, including definitions 
of technical terms. The body of the book is in 
three Parts. Part I., which treats of Words, is 
divided into two books : in Book I., proper and 
improper expressions, arranged for convenience 
in classes that correspond to the several parts 
of speech, are set side by side; in Book II., 
questions of choice between words equally 
proper are considered. Part II., which treats 
of Sentences, is divided into two books : in 
Book I., good and bad sentences, arranged for 
convenience in chapters that correspond to the 
five important qualities of style, are set side by 
side; in Book II., questions of choice between 
sentences equally proper are considered. Part 
III. treats of Paragraphs." 

The plan of the book, as any one can see at a 
glance, is admirable. As for its quality, the 
author has been for years at the head of the 
department for instruction in English at Har- 
vard college, and thousands of those who have 
been students under him, — the editor of The 
Writer included, — will be ready to testify 
that no more competent or interesting teacher 
of the right use of the English tongue has ever 
lived. Professor HilPs " Principles of Rhet- 
oric" has long been a standard text-book. 
This new " Foundations of Rhetoric " is quite 
as practical, and sensible, and closely-written as 
the older book, and it is an advance upon that 
in many ways. It is doubtful, indeed, if any 
better book than this on the practical use of 
English has ever been written. The student of 
it will find some valuable suggestions on every 
page, and innumerable questions about the mat- 
ters that puzzle young writers most frequently 
are answered in it. It is in every way an ad- 
mirable work. Its value is increased by a 
thorough index, and by an appendix which 
gives all the rules of punctuation that any ordi- 
nary writer needs to know. w. h. h. 

Knglish Synonyms Explainbd in Alphabbtical Ordbr. 
With copious illustrations and examples drawn from the 
best writers. By George Crabb. A. M. 638 pp. Cloth. 
$1.00. New York : George Routledge & Sons. 1893. 

Study of the nice distinctions in meaning in 
words closely allied is invaluable to any writer 
who desires to use exactly and effectively the 
langua^^e in which he writes. Crabb's " Syno- 
nyms 'Moes something more than put together 

lists of words of similar meaning ; besides doing 
this, the author discusses the differences in 
meaning between the different words, and by 
illustrative examples shows their proper use. 
The origin of words is taken into account, and 
reasons are given why, in certain places, it is 
better to use one word rather than another, 
almost, but not quite, its equivalent. No 
writer, however skilful, can fail to get benefit 
from careful study of this book. w. h. h. 

Olivbr Wbndbll Holmbs. By Walter Jerrold. With a 
portrait. 144 pp. Cloth, 90 cents. New York: Macmil- 
lan & Co. 1893. 

The cellotype portrait prefixed to Mr. Jer- 
rold*s little book is an admirable picture of the 
" Autocrat." The different chapters of the book 
treat of Dr. Holmes as " The Man," " The 
Poet," *»The Novelist," "The Autocrat and 
Teacher," and " The Doctor," with full appre- 
ciation ot his many-sided ability. As a poet, 
Mr. Jerrold gives to Holmes the position im- 
mediately after Longfellow in point of fame, be- 
lieving at the same time that in point of popu- 
larity ne is probably to-day the very first among 
the poets of America. His sketch of Dr. 
Holmes* life is the most interesting portion of 
the book. The volume closes with a bibli- 
ography of Dr. Holmes' writings up to 1891. 

Ti* H. H. 

BoN-MoTs OF Charlbs Lamb and Douglas Jbrkold. 
Edited by Walter Jerrold. With grotesques by Aubrev 
Beardsley. 191 pp. Cloth, 75 cents. New York : MacmU- 
Ian & Co. 1893. 

A good portrait of Douglas Jerrold and a less 
satisfactory one of Lamb increase the value of 
this dainty little volume. As for Mr. Beards- 
ley's drawings, most of them are meant to orna- 
ment, rather than to illustrate, as they might 
more effectively have done. The editor of the 
little book has prefixed brief sketches of the 
two wits whose bright sayings are included in 
it, and he has made an entertaining collection 
of epigrams and anecdotes, which is issued by 
the publishers in most attractive form. 

W^. n. It. 

Studibs op thb Stagb. By Brander Matthews. With por- 
trait. ai4 pp. Qoth, $1.00. New York: Harper & 
Brothers. 1894. 

To writers Mr. Matthews* paper on " The 
Dramatization of Novels " will probably be the 
most interesting in this little volume of " Studies 
of the Stage." It is especially valuable because 
the author of it is a playwright, as well as an 
essayist, story-teller, and critic, and his sugges- 
tions regarding the methods and the difficulties 
of dramatization are based upon practical ex- 
perience. Incidentally, many hints about play- 
writing are given in the essay. The other 
essays in the book discuss the dramatic out- 
look in America, the New York Player's 
Club, "Charles Lamb and the Thft^J^^V ^*-- 
Francisc\]ii^ S^xct^ >>^. '^vINks* VsAaaaNx^.,''^ 'SJos^Mt.- 


.T»E Writer. 

speare, Moli^re, and Modern English Comedy," 
and **The Old Comedies," and the volume 
closes with " A Plea for Farce." Mr. Mat- 
thews is right in thinking, as he says in his 
prefatory note, that being himself a 'maker of 
plays he has considered the art of the dramatist 
with a fuller understanding of its technic, and 
with a more intimate sympathy than is possible 
to those who know the stage only from the far 
side of the footlights. w. h. h. 

Catalogue of *'A. L. A." Library. Five thousand vol- 
umes for a popular library, selected by the American Library 
Association and shown at the World's Columbian exposition. 
59a pp. Washington: Government Printing Office. 1893. 

The United States Bureau of Education has 
just published this catalogue of a model library 
of 5.000 volumes, representing as nearly as pos- 
sible the 5,000 books that a new library ought 
to obtain first for its collection. The catalogue, 
however, does much more than give a desirable 
list of books. It shows two very complete sys- 
tems of classification, and, in this respect, is the 
most instructive volume yet printed on the sub- 
ject of libraries. It is divided into three parts : 
Part I., classed catalogue according to the 
Decimal classification; Part II., classed cata- 
logue according to the Expansive classification; 
and Part III., Dictionarv catalogue. Part I. is 
preceded by alphabetical lists ofbiography and 
fiction. All the books included in the library 
would cost at retail $12,125.90. w. h. h. 

Short Frbnch Grammar. By C. H. Grandgent. 150 pp. 
Cloth, 80 cents. Boston : D. C. Heath & Co. 1894. 

French Lbssons and Exbrcisbs. Part I. By C. H. Grand- 

fent. 34 pp. Flexible cloth, la cents. Boston : D. C. 
leath & Co. 1894. 

Mr. Grandgent is now director of modem 
language instruction in the Boston public 
schools, having been formerly a tutor in mod- 
em languages in Harvard university. This 
new grammar of his combines the following 
advantages: (i ) brevity without undue concise- 
ness, ( 2 ) treatment of the subject from the point 
of view of the American pupil, ( 3 ) a strictly 
systematic arrangement, and (4) a scientific but 
easily intelligible study of French pronuncia- 

The " Lessons and Exercises " are based on 
a little text with which they are published in a 
pamphlet which accompanies the grammar. 
There will be one or more similar pamphlets, 
so that the teacher may not be obliged to use 
the same exercises with successive classes. 

W^. H. n. 

Ships That Pass in the Night. By Beatrice Harraden. 
235 pp. Cloth, ^i.oo. New York: G. P. Putnam's Sons. 

"If every one who wrote books now would 
be satisfied to dust books already written," the 
author of "Ships That Pass in the Night" 
makes her Disagreeable Man say, " what a 
regenerated world it would become ! " It is 

certain, as the Disagreeable Man says furthei^ 
later on, that " there are too many books as it 
is ; and not enough people to dust them." Still 
" Ships That Pass in the Night " has found a 
welcome. It is a story of life among the in- 
valids at an Alpine health resort, and its nov- 
elty, both as regards its subject and its method 
of treatment, sumciently accounts for its success^ 
The Disagreeable Man is an interesting charac- 
ter, but only a little more so than the invalid 
heroine of the book, Bernardine Holme. In- 
cidentally he gives her some advice, in talking 
with her one day, which all writers of books 
might heed with distinct advantage. One of 
her life wishes is to write a book herself*- 
" Whatever else you may do," says he, " don't 
make your characters hold long discussions 
with each other. In real life people do not 
talk four pages at a time without stoppings 
Also, if you bring together two clever men, 
don't make them tSk too cleverly. Clever peo- 
ple do not. It is only the stupid ones who 
think they must talk cleverly all the time. And 
don't detain your reader too long : if you must 
have a sunset, let it be a short one." ..." If 
you have the courage to be simple when you 
come to the point, you will succeed." The 
author of " Ships That Pass in the Night " lives 
well up to her literary theories. Her book is 
straightforward, clear, simple, and direct. It 
seems a pity, however, that Bernardine should 
not have seen the Disagreeable Man's pathetic 
love-letter; and it seems a pity, too, that the 
book should have so utterly unnecessary an 
unhappy ending. This edition of the story, by 
the way, is the authorized American edition. It 
is an attractive one, but it seems strange to find 
the Putnams' proof-reader allowing "cnAlet" to 
pass for " chalet," and " tack " for " tact." 

Yi t H. n. 

Thb Dblbctablb DucHv. By"Q." 320 pp. Cloth, $1.00^ 
New York : Macmillan & Co. 1893. 

" The Delectable Duchy " is a collection of 
characteristic stories, studies, and sketches 
by Arthur Quiller-Couch. They are graphic, 
bright, and interesting, — worthy in all respects 
of the reputation won by the author of " The 
Splendid Spur " and " Dead Man's Rock." 

W^. fi. H. 

In Exilb, and Othbr Stokibs. By Mary Hallock Foote. 
253pp. Cloth, $1.25. Boston: Houghton, Mifflin, & Co. 

Mary Hallock Foote has a genius for story- 
telling, and since she established her reputation 
with "The Led-Horse Claim," a few years ago,, 
everything that she has written has increased 
the number of her friends. The present collec- 
tion of .short stories includes " In Exile," 
" Friend Barton's Concern," " The Story of the 
Alcdzar," "A Cloud on the Mountain,^ "The 
Rapture of Hetty," and "The Watchman.'* 
Four of these are tales of Western life, the: 

The Writer. 


scene being laid either in California or Colo- 
radOy but "The Story of the Alcdzar" and 
** Friend Barton's Concern " are given a New 
England setting. All the stories in the book 
are vigorous, graceful, bright, and entertaining, 
and the book is sure to have a great success. 

wf» n* H> 

Campfi*b Musings. Life and good times in the woods. By 
William C. Gray, Ph. D Second edition. 304 pp. Qoth, 
fi.50 Chicago : The Interior Company. 1894. 

To every lover of life in the woods every new 
book on camp life is a source of keen delight. 
Every such book is sure to be -a good one, for 
no one who loves the woods well enough to 
write about them can fail to be an entertaining 
companion, and no book that has the flavor of 
woods life in it can fail to call up pleasant recol- 
lections in the minds of all among its readers 
who know by experience what woods life is. 
Just to look at the camp pictures in Dr. Gray's 
book will send a pleasant thrill through the 
veins of every old camper-out, and the text of 
the book throughout has the flavor of the forest. 
The author's camping experiences have been 
varied, and he has made the most of them. He 
has a lively sense of humor, and a spirit of 
genuine philosophy pervades sketches odorous 
with the sweet flavor of the fir balsam and the 
spruce. It is no wonder that a second edition 
of the book has already been required. 

W^. n. H. 

OuK ViLLACB. By Mary Russell Mitford. 256 pp. Cloth, 
$a.oo. New York : Macmillan & Co. 1893. 

This reprint of Miss Mitford's delightful 
village sketches is made attractive by loo illus- 
trations by Hugh Thompson, and an introduc- 
tion by Annie Thackeray Ritchie is prefixed. 
The story of Miss Mitford's life, as it is told 
by Miss Thackeray, is pathetically interesting. 
Her literary work was done under all the (Wa- 
advantages that unceasing domestic difficulties 
bring, and it is astonishing that under such cir- 
cumstances she was able to accomplish what 
she did. Her pictures of English country life 
included in this volume appeal to every lover of 
nature, and are written with a grace and deli- 
cacy of literary expression that renders them 
worthy of the attractive dress in which they 
have been issued by the publishers, w. h. h. 

BBAimruL Job. An autobiography. By Marshall Saunders. 
With an introduction bv Hezeluah Butterworth. 304 pp. 
Qoth. Philadelphia: Charles H. Banes. 1894. 

What " Black Beauty " has done to lessen ill- 
treatment of the horse, ** Beautiful loe " is likely 
to do to lessen ill-treatment of the dog. It is a 
story of a real dog, and nearly all its incidents 
are founded on fact. The manuscript won a 
prize of $200 in the third competition opened by 
the American Humane Education Society for 
the best bck>k illustrating kind and cruel treat- 
ment of domestic animals and birds in Northern 

sUtcs, Mr. Butterworth being one of the judges^ 
of the manuscripts submitted. As a story^ 
" Beautiful Joe " possesses more than ordinary- 
merit, and its innuence for good cannot fail to* 
be a most important one. w. h. h. 


[AH books sent to the editor of Thb Writbk wiU be ac- 
knowledged under this heading. They will receive sodi farther 
notice as may be warranted by their importance t« resdbrs of" 
the magaaine.] 

Elbvbnth Ckop, Pickings from Puck. 62 pp. Paper, 25! 
cents. New York : Keppler & Sdiwarzmann. 1894. 

Hawaiian Lipb. By Charles Warren Stoddard. a88 pp. 
Paper, 50 cents. Chicago : F. T. Neely. 1894. 

Rbmington Typbwritbk Lbssons. Bv Mrs. M. V. Lon^ley. 
48 pp. Paper. Cincinnati: The Phonographic Institute-: 
Company. 1893. 

Caligraph Lbssons. By Mrs. M. V. Long^y. 48 pp. 
Paper. Cincinnati: The Phonographic Institute Company. 

Thb Pbbrlbss Cook Book. By Mrs. T. J. Kirkpatrick. 
Illustrated. 320 pp. Paper, 25 cents. Springfield, Ohio: 
Mast, Crowell, & Kirkpatrick. 1894. 


[Under this heading it is intended to describe any handy 
little contrivance that may oe of use in any way to literary 
workers. Facts about home-made devices particularly are de- 
sired. Paid descriptions of patented articles will not be 
printed here on any terms ; but this shall not hinder any one 
from letting others know gratuitously about any invention that 
is of more than ordinary value to literary workers. Readers of 
Thb Writbr are urged to tell for the benefit of other readers- 
what little schemes they may have devised or used to make 
their work easier or better. By a free exchange of personal 
experiences every one will be helped, and, no matter how 
simple a useful idea is, it is an advantage that every one should 
know about it. Generally, the simpler the device, the greater 
is its value.] 

Memorandum Paper. — I, too, have adopted 
the plan described by " C. D. J." in the Febru- 
ary Writer. At first I stitched across one 
end of the bunch of memorandum paper with^ 
the sewing machine, but I found that the needle 
and close stitches cut the paper. I now use 
wrapping twine and a chenille needle, making 
one long stitch on the under side and tying the- 
ends together on the upper side. 

Aiia L. Lyon-Irons. 

Glbnwood, Iowa. 

Tablet Covers for Manuscripts. — I think 
most writers will find " F. E. H.'s " plan of 
using tablet covers for keeping loose leaves oi 
manuscripts in order better than large adver- 
tising envelopes. Since v^^ V Va?*^ x««^- 


The Writer. 

pasteboard cut in strips of convenient size. 
These strips, which are the full length of the 
sheet, are placed one on top of the other in a 
neat pile with a rubber band slipped over each 
-end and one around the centre. This pile of 
strips has a place in one of the long compart- 
ments of my desk. When a manuscript is 
ready to put by, I measure ofiE ten inches on 
*one of these pieces, place a brass-edged ruler 
-on the mark, and cut through the pasteboard 
with a knife. In a drawer of my desk is a 
nursery pin on which are strung several dozen 
.^mall rubber bands. I place a sheet of paste- 
board each side of the manuscript, write the 
•title on the upper one with a lead pencil, and 
-rslip a band across each way. If the copy is 
i£nished, all I have to do is to enclose it in an 
envelope or wrap it with manila paper, address 
it, and attach the stamps. As rubber cannot 
4dways be depended upon, I tie the package 
•with linen shoe thread before mailing it. 

Alia L. Lyon-Irons, 

Gum WOOD, Iowa. 

Pencils Sharpened at Both Ends. — I find 
^advantage in using a lead pencil sharpened at 
both ends. Not only is it convenient to have 
two points to your pencil, to avoid the necessity 
-of stopping your work to whittle in case the 
lead may break, but I find that it afEords relief 
in writing to turn the pencil I am using end for 
end occasionally. Most shorthand writers 
liabitually use pencils sharpened at both ends. 

L. o. s. 

Loc Amgblbs, Calif. 

Filii^ Cuts and Biographies. — Now that 
-portraits are such a common feature of news- 
papers, portrait blocks are bound to accumu- 
Jate in every newspaper composing-room. Un- 
less some system for taking care of them is 
adopted, the cuts are likely to get injured, and 
when one is wanted it frequently cannot be 
found until after long and persistent search. 
Perhaps the simplest effective plan for hand- 
ling cuts and the biographies that go with them 
is that which is described as follows: In a 
strong pasteboard box are arranged twenty-six 
'envelopes lettered from A to Z. The flap of 
•«ach envelope is tucked inside, so that the in- 
iterior of the envelope is accessible. When a 

new portrait cut is made, a proof of it is taken, 
and the slip, numbered "i," for instance, is 
filed, with the accompanying biographical mat- 
ter, in the envelope bearing the initial of the 
subject's name. The cut is numbered "i," 
with ink, to correspond, and is put on its edge 
on a shelf, with the number outside, so that it 
will show. When a cut is wanted, the editor 
turns to the proper envelope, and the proofsllp 
enclosed shows the number of the block, which 
is thus instantly available. If the number of 
cuts in the office is very large, it will be well to 
subdivide the initial letters on the *' first letter 
and first vowel " system — the five " B " envel- 
opes, for instance, being marked " Ba," " Be," 
" Bi," " Bo," " Bu." Under this system bio- 
graphical material relating to " Brown '* would 
be filed in the " Bo " envelope. j. d. h. 

Elmira, N. Y. 

Ink for Writing on Glass. — The writer 
who does not wear a diamond, and who may 
sometime want to write a quatrain on a win- 
dow pane, may prepare an ink that will serve 
his purpose as follows : Heat over a hot water 
bath: — 

White gum lac lo puts. 

Venice turpentine sputa. 

Rectified turpentine 15 parts. 

When the solution is complete, add five parts 
of lampblack. Then produce the quatrain. 

A. rL* H. 

Brooklyn, N. Y. 

Saving Manuscript Paper. — C. D. J., and 
all others who rewrite largely and wish to save 
manuscript paper, will find the following plan 
an excellent one : Select the unsealed envelopes 
that come in nearly every mail, rejecting those 
that are not gummed. Straighten the flaps and 
lay the envelopes, addressed side down, in a neat 
pile, one on top of the other, until there are 
twelve or fifteen of them. Moisten the gum on 
the flap of the envelope at the bottom of the heap, 
press the flap of the next envelope down upon it 
Moisten the gum on the second, and press the 
third down upon that, etc., until all are fastened. 
Then with a pen or paper knife cut the ends of 
the envelopes, and open each one. This makes 
a convenient writing tablet or pad upon which 
to make the first draft of an article, and there is 

The Writer. 


a great deal of satisfaction in tearing off the 
leaves, one after another, as the article is 
copied. Each envelope makes a sheet nearly 
as large as commercial note paper, and more 
may be added at either top or bottom, as they 
are needed. b. d. 

South Kaukauna, Wis. 


[The publisher of Thb Writer will send to any address a 
copy of any magazine mentioned in the following reference list 
on receipt of the amount given in parenthesis following the name 
— the amount being in each case the price of the periodical, 
miik ikr** cents postagg added. Readers who send to the pub- 
lishers of the periodicals indexed for copies containing the ar- 
ticles mentioned in the list will confer a favor if they will men- 
tion Thb Writxr when they write.] 

Wild Flowbrs of Encush Spbbch in America. Edward 
£ggleston. Century (38 c.) for April. 

Matthbw Arnold. With portrait. Florence Earle Coates. 
Century ( 38 c. ) for April. 

Lincoln's Litbrary Expbrimbnts. John G. Nicolay. 
Century ( 38 c. ) for April. 

Thb Hbad of Sir Walter Scott. T. T. Munger. Cen- 
tury ( 38 c. ) for April. 

A Gentle Warning to Lecturers. Agnes Repplier. 
Ferum (a8 c ) for April. 

Tennyson's Reugion. With portrait. Rev. W. H. Sav- 
age. Arena ( 53 c ) for April. 

Me. Ruskin in Relation to Modbbn Problems. E. T. 
Cook. Reprinted from National Review in Eclectic Magazine 
(48 c. ) for April. 

Private History of the ''Jumping Frog" Story. 
Mark Twain. North A merican Review ( 53 c. ) ^O' April. 

French Caricature OF To-day. Arstoe Alexandre. Sera- 
net's Magazine ( a8 c. ) for April. 

Mrs. Cecile Viets Jamison. With portrait. Olive Otis. 
St. Nicholas ( a8 c. ) for April. 

Matthew Arnold. Leslie Stephen. Reprinted from 
National Review in Eclectic ( 48 c. ) for March. 

A Word for Hannah More. Reprinted from Temple 
Bar an Eclectic ( 48 c. ) for March. 

Is the West in Literary Bondage? George Hamlin 
Fitch. Calif omtan ( 28 c. ) for January. 

The Moral Responsibility of thb Press. William A. 
Spalding. Cali/omian (28 c.) for January. 

The Only Literary Success Worth Having. Topics 
of the Time. Century ( 38 c. ) for March. 

How I Wrote *' Looking Backward." With portrait. 
Edward Bellamy. Ladies^ Home Journal { 13 c. ) for April. 

Mrs. Robert Louis Stevenson. With portrait. Alice 
Graham McCollin. Ladies^ Home Journal (13 c.) for ApriL 

My Literary Passions. W. D. Howells. Ladies' Home 
Journal (13c) for April. 

George W. Childs. With full-page portrait. Leisure 
Hours ( 13 c. ) for March. 

The Librarian Among His Books. (Interview with A. 
R. Spofford). Julian Hawthorne. Lippincott's Magazine 
( 28 c. ) for April. 

A Century of the Telegraph in France. W. Lodba. 
Popular Science Monthly ( 53 c. ) for April. 

The Late Professor Tyndall. Herbert Spencer. 
Popular Science Monthly ( 53 c ) for April. 

Points in Library Management. Popular Science- 
Monthly ( 53 c ) for April. 

Nature in Old English Poetry. Richard Burton. 
Atlantic Monthly ( 38 c. ) for April. 

Early Latin Poetry. R. Y. Tyrrell. Atlantic Monthly 
( 38 c. ) for April. 

Bronson Alcott. Atlatitic Monthly ( 38 c. ) for April. 

A Pale Girl's Face. The history of a scoop. A atory. 
Ewan Macpherson. Harper's Monthly ( 38 c. ) for April. 

Popular Taste in Literature. — The Reporter as a 
Detbctivb. Editor's Study. Harper's Monthly (38 c. ) for 

Some Great Libraries of the United States. S. G. 
W. Benjamin. WorthingtoiC s Magazine ( 28 c. ) for ApHL 

American English. Richard Burton. 1Vo$rthington*s 
Magazine ( 28 c. ) for April. 

Thb Making of a Metropolitan Newspaper. C. P. 
Stine. National Printer-Journalist ( 23 c. ) for January. 

The Story of a Lost Letter. Facts abo«it the United 
States Postal Service. Arthur Field. Demoresfs Family 
Magazine ( 23 c. ) for ApriL 

The Art of Illustration. W. Lewis Frazer. Ameri- 
can Journal 0/ Photography ( 28 c) for March. 

A Philadelphia Illustrator (Joseph Pennell). 
American Journal of Photography ( 28 c. ) for March. 

Are Intellectual Women Lovable? Junius Henri 
Browne. IVorthingtonf s Magazine ( 28 c ) for March. 

The Philosophy of Authorship. Paul Siegvolk. 
New Yorh Home Journal {^c. )for January 17. 

Sir Walter Scott's First Love. Caroline H. Dall. 
Nation ( 13 c. ) for March 8. 

The Letters of Sir Walter Scott. Reprinted from 
Blackwood's Magazine in LittelPs Living Age (21 c) for 
March 3. 

Early Recollections of Tennyson. Reprinted from 
Temple Bar in LittelVs Living Age (21 c. ) for March 10. 

Photo-telegraphy. Photographic Times (18 c) for 
March 30. 

William D. McCrackan. With portrait. Literary 
Weekly ( 13 c. ) for January 25. 

Hamun Garland. With portrait. Literary Weekly 
( 13 c. ) for March 8. 

Walter Blackburn Harte. With portrait. Ernest 
Newton Bagg. Literary Weekly ( 13 c. ) for March 15. 

James Whitcomb Riley. With portrait. Literary 
Weekly ( 13 c ) for March 22. 

Joseph Howard, Jr. With portrait. Journalist ( 13 c. ) • 
for March 24. 

The Making of Great Paris Dailies. With portraits. 
R. Lodian. Journalist ( 13 c. ) for March 24. 

My First Book. Reprinted from the Idler in Chicago 
Graphic ( 13 c ) for March 10. 

William Frederick Poole, LL. D. With portrait. H. 
D. Suddith. Chicago Graphic ( 13 c. ) for March 10. 

Thomas Hardy. With portrait. Chicago Graphic ( 13 c|) 
for March 24. 

A . CoNAN Doyle. With portrait. Chicago Graphic ^13 c ) 
for March 31. 

John Kbndrick Bangs. Portrait. Harper's Weekly 
( 13 c. ) for March 17. 


The Writer. 

Jambs Montgombky Bailby (*^The Jkmbury New* 
Man " ). With portrait. Harper's Weekly for March 24. 



William Frederick Poole, the originator of 
-** Poole's Index,'*^ died in Chicago March i. 

George Ticknor Curtis died in New York 
City March 28. 

Miss Olive Schreiner, author of " The Story 

Hof an African Farm," is engaged to be married. 

Her betrothed, who is four or five years younger 

than the bride, is Cron Wright, the son of a 

well-known South African farmer and member 

• of the Cape Parliament. 

The good- will and plant of Godeys Magazine 
have been sold for $5,000 to Harry Wakefield 
Bates. A corporation is now being organized 
to take over the title and continue the publica- 
tion of the magazine. 

The publishers of Storiettes (New York) 
offers a bicycle as a prize for the best bicycle 
story of from 2,000 to 3,000 words, written by a 
•cyclist and sent in before July 4. 

The trustees for Dartmouth college have an- 
nounced the offer for 1894 for the Fletcher prize 
of $500 for the best essay calculated to coun- 
teract the present tendency to a "Fatal Con- 
formity to the World." The following subjects 
are assigned, with the date at which each essay 
is to be forwarded : ( i. ) "In what ways ought 
the conception of personal life and duty to be 
modified?*' December 31, 1894; (2.) "Should 
any restrictions, legal or moral, be placed upon 
the accumulation of wealth?" December 31, 
1896; (3.) "How can education be made a 
greater safeguard against materialism?" De- 
cember 31, 1898. These subjects may be 
treated singly or in course. No essay is to 
exceed 250 pages of 270 words each. A circu- 
lar containing further particulars will be for- 
warded to those who apply to William Jewett 
Tucker, president of Dartmouth College, Han- 
over, N. H., mentioning The Writer. 

The American Peace Society offers three 
prizes of $100, $50, and $25 for the three best 
essays on "The Economic Waste of War," 
written by seniors or juniors in American col- 
leges. Full information is given in the January 
number of the Advocate of Peace ( Boston ). 

The annual announcement of Mrs. Cfaw- 
shay's literary prizes is as follows: B170Q- 
Shelley-Keats In Memoriam ( endowed ) Yearly 
Prizes, for the Best Essay in English, Written 
by a Woman of Any Nation. — The prizes for 
1894 will be as follows: Shelley's "Mont 
Blanc" — first prize, £\o\ second prize, £S' 
Shelley's " Letter to Maria Gisborne " — first 
prize, £\o ; second prize, £1. Byron's " The 
Prophecy of Dante " — first prize, £1 ; second 
prize, £z los. Bryon's " The Morgante Mag- 
giore "—first prize, £1 ; second prize, £z los. 
Byron's "Hints from Horace" — first prize, 
£S\ second prize, £z los. Bryon's "The 
Devil's Drive " — first prize, £s ; second prize, 
£^ I OS. Keats' "Sonnets" (20) — one prize, 
£S' Essays to be sent before June i, 1894, to 
Mrs. Rose Mary Crawshay, Cathedine, Bwlch, 
Breconshire. Prizes awarded in August, 1894. 
Essays not to exeed ten pages of twenty-one lines 
in length. Only one side of the paper to be 
written on. A narrow margin to be left. Pages 
to be numbered. The writer's name and ad- 
dress in full, to be written on the back of the 
last page, also Christian name. Pages to be 
fastened together with a metal clip at the left 
hand corner at the top. Competitors may send 
in essays on all the subjects, but cannot be 
awarded more than one first prize. Essays 
will be returned to those competitors only who 
enclose a stamped and addressed cover. The 
subject of each essay to be named outside the 
wrapper and posted singly ; if this be not done, 
essays will be destroyed unread. Essays may 
be typed if desired. Winners of prizes are 
disqualified from taking prizes in after years. 

A new monthly magazine called Books and 
Authors y and devoted to current religious litera 
ture, has been started by the Fleming H. Revell 
Company, New York. The April number con- 
tains a sketch of Professor George D. Herron 
by B. Fay Mills, accompanied by a portrait 

Labouch^re's income from Truth is eighty 
thousand dollars a year. It was born about 
twenty years ago. Inheriting a large fortune 
from an uncle, Mr. Labouch^re was able to 
spend money on his very clever weekly until it 
grew strong enough in popular favor to be a 
source of abounding revenue. It is sometimes 
a blessing to have a rich uncle. 

The Writer. 


Bafyland and Our Little Women^ hereto- 
fore published by the D. Lothrop Company, will 
l>e published hereafter by the Alpha Publishing 
Company, 212 Boylston street, Boston. The 
Pansy will continue to be published by the 
D. Lothrop Company, and edited by Mrs. G. R. 

The Argosy ( Ntw York ) which was started 
:as the Golden Argosy December 2, 1882, being 
then an eight-page weekly paper, the size of 
Harper's Weekly^ has changed its form now to 
tiiat of Munse/s Magazine^ and will hereafter 
~be published monthly. 

Rudyard Kipling's new poem, "The Last 
Rhyme of True Thomas," was copyrighted in 
■this country March 19, by D. Apple ton & Co. 
The Critic says : " As single poems and short 
stories by the more distinguished English 
writers are regularly set up and copyrighted 
nowadays in this country, exchange editors 
and minor publishers must indeed be lynx-eyed 
to avoid infringements of copyright and all that 

Romance {^t^ York) is printing this year a 
series illustrating the di£Eerent varieties of the 

^hort story. Thus a group of three tales illus- 
trating the story of adventure appears in the 
April number ; a group of three illustrating the 

realistic story will be published in May; of 
romantic stories, in June ; of sea stories, in 

July; of mystery stories, in August; and so on. 

The title of the novel which Charles Dudley 
Warner has written for publication in Harper'' s 
Magazine later in the year is "The Golden 
House." It is a story of New York society, a 
sequel to the same author's " A Little Journey 
in the World," and will be illustrated with char- 
acteristic pictures by W. T. Smedley. 

With the April number ("Midwinter Fair 
Number") the editorial and business, control 
oi the Overland Monthly will be assumed by 
Rounsevelle Wildman, late United States consul 
at Singapore, and at Barmen, Germany. Mr. 
Wildman has been more recently the proprietor 
of the Idaho Statesman^ Boise City, and is also 
known in literature as a contributor of stories 
and sketches to Harper'^s Weekly^ St. Nicho- 
las^ the Youth's Companion^ and other periodi- 

Charles L. Webster & Co. will issue, April 
15, Mark Twain's new story, "Tom Sawyer 
Abroad," by Huck Finn, edited by Mark Twain. 
It is a continuation of the adventures of Tom 
Sawyer, Huck Finn, and "Nigger Jim," and 
will, no doubt, be received with delight by their 
many admirers. 

What is called by the Cosmopolitan (New 
York ) the " most interesting literary event of 
the age" is the publication, in its April number, 
of a Corsican story by Napoleon. It is from " a 
manuscript prepared by Napoleon when a boy 
and confided to his uncle. Cardinal Fesch." 

The Journalist ( New York ) celebrated its 
tenth birthday anniversary March 24. The 
yournalist is indispensable to any one who 
wants to keep informed of the doings of news- 
papers and newspaper men throughout the 
country. Editor Forman is to be congratu- 
lated on its success. 

The Photographic Times ( New York ) for 
April 6 will contain an interesting account of an 
interview with Edison, and a description of bis 
latest invention — the kinetoscope. The arti- 
cle is illustrated by some photographic repro- 
ductions of pictures taken by the instrument. 
The rest of the magazine is made up of matter 
interesting to every photographer, amateur or 

The Literary Northwest, of St. Paul, Minn., 
has been merged into the Midland Monthly, of 
Des Moines, Iowa, of which Johnson Brigham 
is the editor. 

A Society of Illustrators has just been organ- 
ized in London, its object being to protect the 
interests and defend the rights of its members 
— the same work, in short, that the Society of 
Authors is supposed to do for writers. 

The variety of the April Century is enhanced 
by a paper by Dr. Edward Eggleston, entitled 
" Wild Flowers of English Speech in America," 
a topic upon which Dr. Eggleston may be con- 
sidered an expert. To the same number Mrs. 
Florence Earle Coates contributes a biographi- 
cal and critical paper on Matthew Arnold, deal- 
ing with his literary and religious influence ; 
and a portrait of Mr. Arnold, engraved by 
Tietze, is published as the frontispiece of the. 

The Writer. 

Lovell, Coryell, & Co., who have just removed 
to a new location at the corner of Sixth avenue 
and West Twentieth street, New York, an- 
nounce a cheaper popular edition of Mrs. Oli- 
phant*s survey of the literary activities of the 
last sixty years, entitled : " The Victorian Age 
of English Literature." 

The circulation of the Forum has increased 
very largely since the price was reduced to 
twenty-five cents a copy, or $3 a year. The 
quality of the magazine is as excellent as ever. 
The publishers say : " The aim of the Forum 
has been to be worthy of its thoughtful patron- 
age ; and it will henceforth be better than ever 

Both letter-press and pictures in the Afaga- 
sine of Art(Ntyr York) for April are of the 
highest excellence. An admirable article by 
Cosmo Monkhouse on John Macallan Swan, A. 
R. A., is one of the most interesting features 
of the number. The frontispiece is an origi- 
nal etching by David Law. 

A life of the late Lucy Larcom is being pre- 
pared by Rev. Dulaney Addison, of Beverly, 
Mass., who asks for the loan of letters in pos- 
session of Miss Larcom*s friends that may be 
helpful to him. 

Ars^ne Alexandre, the author of a recent 
work on French caricature, contributes to 
Scribner^s for April a bright account of the 
work of Forain, Caran d*Ache, Robida, and 
others who make the humorous and satirical 
papers of Paris to-day. In the same number 
Austin Dobson describes the famous book 
shop of Robert Dodsley and the noted company 
who were wont to be seen there. 

The Quarterly Illustrator ( New York ) for 
May contains 377 illustrations by 155 well- 
known artists, including twenty-seven portraits 
of American artists, reproduced from photo- 
graphs. This periodical is invaluable to those 
who wish to study the best examples of the 
latest methods of book and magazine illustra- 

The Magazine of Poetry ( Bu£EaIo ) is pub- 
lished monthly now. The March number con- 
tains brief biographies of Nathaniel P. Willis, 
Andrew Lang, William Winter, and several 
minor poets. 

Edwin L. Shuman, of the Chicago yournal' 
sta£E, has in press a volume entitled " Steps- 
into Journalism," which treats of newsps^f- 
work as a more or less exact science, and la3rs 
down its laws in an informal way for beginners,, 
local correspondents, and reporters. It at- 
tempts to answer, among other things, the bum- - 
ing question of the would-be contributor — why 
editors reject manuscripts. 

Leisure Hours (Philadelphia), which pub- 
lished in its March number the best portrait of 
George William Childs yet printed, has in its 
April number a large portrait of Mr. Gladstone 
that is equally good. 

For the firs^ time since her marriage, Mrs. 
Herbert D. Ward drops her husband's name 
and writes for the April number of the Century 
a striking story, " The Supply at St. Agatha's," 
over the familiar name of Elizabeth Stuart 
Phelps. Her reason for taking up the old name 
again, it is said, is because her present story is 
purely in the line of her earlier efiEorts. 

St. Nicholas for April has a sketch of the life 
of Mrs. C. V. Jamison, author of that very popu- 
lar story, " Lady Jane," and its successor, " Toi- 
nette*s Philip," the concluding chapter of which 
is published in the same number. The sketch 
is accompanied by a youthful portrait of Mrs. 
Jamison, taken from an oil painting. 

The system of atrial telegraphy invented by 
Claude Chappe is described in the Popular 
Science Monthly for April by Walter Lodian in 
a fully illustrated article, entitled " A Century of 
the Telegraph in France." 

The Educational Review (New York) has 
arranged for a series of striking studies of the 
spirit and ideals of the chief American universi- 
ties, the first of which, written by George San- 
tayana, and relating to Harvard College, appears 
in the April number. 

Mrs. Molesworth, the popular writer of chil- 
dren's stories, is a woman of Scotch and En- 
glish parentage, born in Holland. She is a 
believer in methodical work, and makes it 
a rule to sit down at a certain hour and compel 
herself to write two pages. If, at the expira- 
tion of that time, she finds she is not in the 
mood for writing, she puts her work aside and . 
renews the attempt later. 




Vol. VII. 

BOSTON, MAY, 1894. 

No. 5. 

Entered at the Boston Post-office as 8econd-«la88 mail matter. 

CONTENTS : pack 

Writer's Cramp : Irs Nature and Its Curb. Julius 

Wolff. 65 

Correctness, Snap, and Success. Marion Barton Bell. 6g 

Editorial 70 

A Cure for Writer's Cramp, 70 — Typewriter Letters 
aid Signatures, 70 — [ncomes of Writers in England, 
70— Ambidexterity, 71 — Poetry and Poverty, 71 — An 

Awkward Phrase 71 

A Vision of Literary Ghosts. Margaretta M. Morley. 71 

Rejection Slips. Harriet Caryl Cox 71 

Queries 72 

The Scrap Basket 73 

Book Reviews 73 

Helpful Hints and Suggestions 75 

Pigeon-hole Extension, 75— To Mend Tom Pages. . 76 

Literary Articles in Periodicals 76 

News and Notes 77 


In order to understand writer's cramp it is 
necessary to remember what physiologically is 
involved in the education of the muscles to 
perform certain complicated acts. The will 
does not pick out the muscles which are to be 
brought into play to hold a pen; it simply 
directs itself to the result. The combination 
or coordination of the muscles is determined 
by the will, but is effected by another agency. 

The performance of writing is a very com- 
plicated process, requiring for its efficient per- 
formance the integrity of a great number of 
different parts, which the books explain at 
length, but the naming of the various muscles 
and nerves is not necessary here. Failure in 
any one portion of the moving apparatus inter- 
feres with the production of the movement that 
is required, and the kind of failure is determined 
by the location of the lesion, or, in other words, 

by the nature of the process, or function, which 
is lost or disturbed. The pen movements may 
be guided partially by the eye, but the guidance 
is defective for the most complicated acts. If 
the motor nerve be damaged, the muscle is 
pro tanto palsied. If the sensory nerves 
be injured, sensation is defective. If 
the sense of muscular condition be in 
abeyance, the power to control either the 
kind or force of contraction is without its 
guide. Many movements are automatic; we 
adopt them without education and without 
effort ; others are the result of laborious prac- 
tice. It would seem that the body is naturally 
endowed with certain paths or lines of nerve- 
action, along which all moves easily. 

But the process of education in performing 
writing consists in frequent repetition by an act 
of the will of certain complicated movements. 
Repetition makes them easy, until at length 
they are executed without effort, and almost 
unconsciously. By education what was once 
difficult and required effort becomes more and 
more easy and at last automatic. It cannot be 
doubted that some changes may and do .take 
place in the nutrition of the parts, through 
which these lines of nerve-action run, and their 
education involves structural alteration in the 
organs. No man writes well who has not keen 
sight and quick sense of touch, just as no man 
plays the violin well who has not an acute ear 
and a delicate power of feeling in his fingers. 
In all cases of educated movement some 
" sense " is needed, and it is an important ele- 
ment in the process by which the result is ob- 
tained. What happens in writer's cramp and 
like maladies is a perverted nutrition of the 
parts, a worn-out activity, or a degeneration, 
which may arise without qm^\ ^■:fcR.\^CiSscw, 'XNNfc. 

Copyright, t8<h« by William H. Hiuj&. X\l t\|^u tt»en«Au 


The Writer. 

disease is known to pass readily from one side 
of the body to the other. 

Coordination of movement is a most complex 
process, requiring integrity of sensation, as well 
as of motor nerve and of cerebellum. The real 
mischief may be some want of limiting and guid- 
ing influence ordinarily through sensation from 
external impressions. Although we speak of 
this kind as "cramp/' there is not an actual 
condition of cramp. The muscles are not para- 
lyzed, and are equal to all other work, except the 
particular actions in which they acquired the 
disability. There is impotence in respect to 
the particular position and movements involved 
for writing. There is no disorder of intelli- 
gence, no lack of ideas, and the motor appara- 
tus is intact ; but the muscles, so long and con- 
stantly employed in the prehension of the pen, 
the poising of the hand and forearm, and in the 
movement of the pen, become unequal to the 

Under the head of writer's ** cramp " are in- 
cluded various morbid conditions, for it is only 
in common that they disturb or render impossi- 
ble the delicate and complicated movements re- 
quired for writing. It is impossible to classify 
with any degree of accuracy the several forms 
in accordance with their genesis, while the 
symptoms of disturbance of, or interference 
with, particular vocations, which is common 
to them, keeps them sufficiently together in 

Three divisions are suggested by Benedict — 
the spastic, the tremulous, and the paralytic 

It may not be amiss to give quite in detail 
the symptomatology of the disease as set forth 
by various authors, for no two persons are 
afflicted exactly alike, and those who suspect 
they may be afflicted will thus be able to deter- 
mine with more accuracy whether the symptoms 
apply to their own case. 

The spasms of the hand, with incoordination, 
which are manifested in writing appear most 
frequently within the territory of the median 
nerve, of the radial nerve, or, finally, of the 
ulnar nerve, the spasm in the direction of the 
median nerve may be tonic, in which case the 
t^iumb and index finger are curved inward and 
s^ize the pen convulsively; at other times the 

spasm is clonic, and then these two members 
are forced to perform a movement of propul- 
sion, which often causes the pen to twirl around 
its own axis, or presses the pen firmly to the 

In the beginning of the affection — and it 
comes like a thief in the night — a disagreeable 
sensation of tension in the hand is felt only 
after the patient has been writing for a long 
time, and hardly attracts attention at first, until 
the hand becomes more and more fatigued, and, 
together with the fingers, soon becomes at- 
tacked with tremor, which forces the patient to 
rest frequently while writing. As this diflSculty 
in writing becomes more marked, the forma- 
tion of the thick and fine strokes becomes inter- 
fered with, and the letters become small, poorly 
formed, and indistinct. When the attempt is 
made to correct this imperfection by increasing 
the attention and the efforts to handle the pen, 
an increase in the spasms and weakness of the 
arm and hand are the result. This is soon fol- 
lowed by complete spasm of the flexors and 
extensors, and contraction in certain muscles 
of the fingers, producing a painful tension, more 
marked in the extensor muscles of the forearm, 
but involving even the muscles of the shoulder 
and thorax. The growth of the disability is 
slow, but sure. 

Fatigue in the much-used muscles, pain in 
the forearm, in the wrist, and in the hand are 
experienced. So strong is the sense of fatigue, 
and it may be pain, that the arm is steadied, 
and the pen is seized with a firmer grip, and 
great efforts are made to relieve the fatigued 
muscles by writing with the whole arm. The 
writing changes its character and becomes ir- 
regular. The muscles of the first three fingers 
after a time are given to fibrillary trembling. 
The thumb is especially affected, and is also 
often the seat of a dull, aching pain. 

Finally, writing becomes impossible. The 
pen is taken up, a strong effort of the will tries 
to force the muscles to the task, but they obsti- 
nately refuse to execute the movements. Super- 
vision of the higher senses over the muscular 
movement ceases to be exercised. In other 
words, the mode of writing becomes largely 
automatic. For a time the patient writes bet- 
ter, when he is not occupied in directing the 

The Writer. 


formation of every letter, and allows the mus- 
cles, as it were, to take care of themselves. 
Constantly, however, he feels the necessity of 
mental action, and this action invariably in- 
creases the difficulty, until the very moment the 
attempt is made to write, the pen, actuated by 
the muscles of the fingers, executes such dis- 
orderly movements as to bear no analogy what- 
ever to the words which he attempts to write. 

The spasm is much worse if the patient is 
•excited or is particularly anxious to do his best. 
Besides fibrillary trembling, a condition of tonic 
-spasm seizes the thumb and flexors of the fin- 
ders. It is quite natural that the great e£Eorts 
which the patient makes to relieve the fatigued 
muscles should affect his nerves, and the oftener 
he fails, the more nervous he becomes. We 
may safely assert that very seldom is a sufferer 
from writer's cramp and similar muscular affec- 
tions entirely free from nervousness. There 
are still other groups of cases in which marked 
paresis or weakness of the flexors of the thumb 
and fingers exist. I have always noticed that 
all the symptoms mentioned occur only during, 
and shortly after, the patient has been engaged 
in his special act of writing, telegraphing, piano- 
playing, or similar work, disappearing after a 
few moments' rest, to appear again on the re- 
sumption of the same action. A patient with 
writer's cramp may perform all other acts with 
the hand and arm with impunity, except writ- 
ing. In many cases he can write with a pencil 
for a short time comparatively well, but as soon 
as he attempts to use the pen, his muscles do 
not obey his will. The same applies to all 
other mechanical occupations. 

The telegraph operator is very often able to 
-write or draw without the slightest difficulty, 
but as soon as he touches the key, he is power- 
less. I could mention many similar cases. 

Now let us consider the theory, for it is only 
theory, as to the nature of this difficulty. From 
my point of view I divide all cases of this kind 
into two classes, local and central. 

It is only those of the local cases that I at- 
tempt to cure. It is my first duty, conse- 
•quently, to determine first the nature of the 
•case before me. If it is a central one, I have 
generally found that not only the special mus- 
cles used in writing, telegraphing, etc., are 

affected, but that the whole arm, very often the 
whole side of the body, shows a paralytic condi- 
tion, generally accompanied by a sort of severe 
tremor or numbness. This, however, is not 
always so. Now, as to the local cases ; gener- 
ally, as I have said already, both nerves and 
muscles are affected. 

I come now to the most critical point of this 
distressing disease, to the causes. They are as 
various, I think, as the effects. From my ex- 
perience I divide the causes into three classes: 
( I ) weakness of the nerves, ( 2 ) weakness of the 
muscles, and (3) weakness of both nerves and 

The nervous system is so complicated and so 
finely organized, that it is very difficult to un- 
derstand why sufferers from these troubles are 
able to perform their usual duties without 
difficulty to-day and find themselves helpless to- 
morrow. It is equally hard to account for the 
fact that some are much more disposed to con- 
tract these troubles than others. In cases of 
this kind, more or less disturbance of the 
activity of the nerves is apparent, causing in a 
great many cases an oversensitiveness. This I 
will illustrate as follows: Some patients when 
alone can get along with their work fairly well, 
but when they are conscious of observation 
they are more or less disturbed. The same can 
be said of one afflicted with any impediment of 
speech, or with stuttering. He will talk with 
much less difficulty when he is unobserved 
than when he is closely watched. 

The second cause is weakness of the muscles. 
Particular muscles of the hand and arm may be 
constantly exercised in daily duties and become 
very strong, while others, through unintentional 
neglect, become correspondingly weak and 
flabby. This uneven condition will eventually 
produce cramps and trembling of the weak 
muscles, which later on will be conveved to the 
Stronger muscles, that should work in harmony 
with the weak ones. 

The third cause is weakness of both nerves 
and muscles. These cases are by far the more 
numerous and, unfortunately, the more difficult 
ones, and require great patience and pains- 
taking effort on my part, as well as on the part 
of the patients, and are due to an overworked 
condition of both muscles ^\\sL \v^xn^'5». X^n^n^ 


THE Writer. 

never been able to discover positively, and with 
perfect satisfaction to myself, which condition 
is primary and which secondary. Is the low 
condition of the nerves consequent on that of 
the muscles, or is the reverse the case ? 

Naturally, one would suppose that perfect 
rest would benefit these sufferers, but it seldom 
does. When rest is found to cure a supposed 
case of this kind, one can safely say that the 
patient was never truly affected by real writer's 

The means employed in my method of treat- 
ment are very simple, consisting in massage 
and gymnastic exercises. To repeat what Dr. 
Douglass Graham says in his book *' On Mas- 
sage," the vaguest generalities exist as to the 
manner of doing massage, even among the best 
authors on the subject. It is no matter how 
precisely and carefully worded the description 
of it maybe, it is not likely to be comprehended, 
unless one sees, feels, and attempts to do mas- 
sage himself, and compares his efforts with 
those of others ; for massage, though it may be 
studied as a science, has, like everything else 
in medicine and surgery, to be practiced as an 
art ; and the same may be said of this that Dr. 
John Hilton said of surgery: "There is much 
that cannot be systematized, that cannot be con- 
veyed from mind to mind in books and articles." 

The gymnastics are active and passive 
motions, consisting in stretching and contract- 
ing the arm and fingers. The fundamental 
methods of my treatment can easily be con- 
ceived by every medical man, but it is not the 
same with the execution. This must be adapted 
to every special case. First of all, the really 
affected muscles must be recognized and sub- 
jected to treatment by massage and gymnastics 
in a special manner. To do that requires ex- 
perience, accurate knowledge of the manifold 
appearances of the writer's cramp, and a cer- 
tain natural ability. 

A leading factor in the development of my 
method was my experience as a teacher of pen- 
manship, especially as regards the manner of 
holding and guiding the pen. Both should for 
each individual be adapted to the individual 
formation of the hand and forearm, and not 
according to a general or normal rule. This is 
not only the main point, but the basis of my 

treatment. Writer's cramp cannot be cured 
according to a general rule, or according to a 
specified method. No two hands are alike,, 
and while general precepts in writing may be 
observed, the rules must be modified and 
adapted to the individual. A method must be 
found for the hand in question — not the 
reverse. Each individual hand must be studied^ 
not only by the anatomist as to its form and the 
formation of all its muscles, not only by the 
physiologist in reference to the functions and 
actions of the muscles, but, above all, by the 
teacher of writing in reference to the special and 
particular way in which the individual holds his 
pen and writes, what muscles he prefers to make 
use of. No two men perform the action of writ- 
ing in exactly the same manner, and writer's- 
cramp does not affect the very same muscles with 
equal intensity in all cases. It needs not only 
a good physician, but a good and experienced 
teacher of writing to recognize quickly the 
muscles principally affected, and consequently 
direct the treatment where it rightly belongs. 
These muscles have in one sense to be taught 
writing over again. They must work correctly 
and coordinate themselves accurately in respect 
to this occupation alone. I have said before that 
the patients can perform any other work, except 
writing, without being seized by cramps. The 
affected extremity needs no general massage, na 
general gymnastics, no general tonic treatment^ 
because it is in nowise impaired in its general 
usefulness ; it needs, so to say, restoration of 
one particular functional ability, and to do this, 
an adept, or expert conversant with the occupa- 
tion, and capable of imparting it to others, is, 
above all, fitted for the task, if he combines his 
dexterity in that particular occupation with suf- 
ficient anatomical and physiological knowledge^ 
Before I begin my treatment, I always examine 
the patient's mode and style of writing, the way 
he holds his pen, the position of the arm, hand, 
and fingers, the movements he makes, the way 
he has adopted in upward and downward 
strokes, in vertical, horizontal, or slanting 
directions. I study his individual method of 
writing, and notice all the faults in the same. 

During the treatment, while the normal func- 
tions of the affected muscles are being restored,, 
the patient receives instruction in the correct 

The Writer. 


position for holding the pen, and in the method 
-of writing, as adapted to his individuality. I 
have mentioned only penmanship as an ex- 
ample. All other functional disturbances in the 
•occupations of telegraphing, typewriting, piano 
-and violin playing have to be treated exactly in 
<he same manner. I have studied and prac- 
ticed them all ; I can telegraph and I play the 
piano and violin, I can sew and knit, and am 
well acquainted with all mechanical manual 

There are more patients afflicted with this 
•complaint in the new world than in the old. 
America stands preeminent in every kind of 
^ork that requires manual dexterity and skill. 
American workmen, besides, accomplish more 

in a given time than those of any other country. 
The high extent to which division of labor has 
been carried here has a good deal to do with 
this. The spirit of competition here is greater 
than anywhere else. 

If one lady writes 2,000 envelopes in one day, 
another one immediately strives to break the 
record by an additional hundred. This holds 
good in all departments of technical labor. Un- 
told numbers of people are afiEected, partially or 
completely, by this disease, and lose to a greater 
or less degree their chance for earning a liveli- 
hood. These, I maintain, can almost all be 


Julius Wolff. 

Nkv York, N. Y. 


A score and more of years of contributing 
-ought to make it possible for a writer to throw 
out some hints that might prove useful to new, 
if not young, writers ; and probably they will 
not feel hurt if the shoes offered fit so well 
that they can wear them. 

Of course, to be an accepted contributor 
means more than appears upon the surface, and 
sharp eyes are needed to look beneath the top 
of the waters of discouragement to find the real 
reason why papers are so often declined, with 
or without thanks. Who cares to receive the 
printed slips that tell that the editor is grateful 
ior the privilege of reading the rejected manu- 

Now, what is the reason that it is returned, — 
that is, allowing that sometimes the hopper is 
iull, or the editorial purse low 1 

New writers who seize upon some passing 
€ad, some taking item that is of interest, and 
•can work it up to a successful point, often run 
right up to the top of the ladder that others are 
still climbing with difficulty. But it is not every 
one who can write an entertaining letter to a 
€riend, who can write an article that is worth 
liard cash to a busy editor who has a vast 

amount of material at his disposal. Natural 
gifts count for a great deal, but grammar and 
punctuation count for quite as much. How 
tiresome it is to be jerked back by a semi-colon 
when a comma ( only a breath ) is all that needs 
to find place in the lines ; and how very un- 
necessary new writers think it is to study 

Then the articles often lack snap; they are 
written in a desultory, letter ish style, that makes 
the editor weary. Editors who sit beyond the 
closed doors of their sanctums are not half so 
mean as they are thought to be. They know a 
desirable thing when they see it, and their fin- 
gers are so trained by experience that they can 
tell a good manuscript almost by touch. 

But take the opinion of one who knows, if 
you will, for it is true: a well-written, well- 
punctuated, snappy article, that does not bear 
the wear and tear of travel, must find a resting 
place when it arrives at the proper door; for 
even with plenty on hand, few editors will not 
push others aside for what pleases their taste 

and fancy. 

Marion Barton Bell, 

Orangb, n. J. 


THE Writer. 

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28a Washington Street ( Rooms 9 and 10), 

( P. O. Box 1905. ) Boston, Mass. 

Vol. VII. 

May, 1894. 

No. 5. 

The article in this number of The Writer 
on " Writer's Cramp," by Julius Wolff, a teacher 
of penmanship at Frankfort-on-th&-Main, who 
is now in New York, will undoubtedly be read 
with special interest. Mr. Wolff's method of 
treatment may be described as follows : It con- 
sists of a combined employment of gymnastics 
and massage. The gymnastics are of two 
kinds : First, active, in which the patient moves 
the fingers, hands, forearms, and arms in ail 
directions possible, each muscle being made to 
contract from six to twelve times, with consid- 
erable force, and with a pause after each move- 
ment, the whole exercise not exceeding thirty 
minutes, and being repeated two or three times 
daily ; second, passive, in which the same move- 
ments are made as in the former, except that 

each one is arrested by another person in a 
steady and regular manner. This may be re- 
peated as often as the active exercise. Mas- 
sage is to be practiced daily for about twenty 
minutes, beginning at the periphery; percus- 
sion of the muscles is considered an essential 
part of the massage. Combined with this are 
peculiar lessons in pen-prehension and writings 
Mr. Wolff has had great success in the treat- 
ment of writer's cramp abroad. 

» » 

No one has ever yet been able to explain why- 
it is that people who own typewriters, and use 
them for making manuscripts, so frequently 
think it necessary to write the letters to accom- 
pany them with a pen, or to sign the manu- 
scripts with a pen-written, instead of a machine- 
written, name. Every one knows, of course,, 
that a typewritten signature to a business- 
document or an important letter is not regarded 
as a signature in a court of law, and so there 
is a reason why important letters or contracts- 
should be signed with a pen, but for ordinary 
letters — like one submitting a manuscript to an. 
editor, for instance — a typewritten signature is 
all right. Just as a manuscript should never 
be offered pen-written if typewriting is possi- 
ble, so a letter sent with a manuscript should 
always be typewritten, if the writer possesses a 
machine — signature and all. The reason is^ 
of course, that the typewritten letter is more 
legible than one written with a pen, and in the 
signature especially legibility is a matter of 
some consequence. Even people who write a 
fairly legible hand often write their names so- 
blindly that a skilful proof-reader would be 
puzzled to make them out. The typewriter 
overcomes this difficulty. Why not use it^ 
when it is at hand? 

» ♦ 

Writing of the incomes of the professional 
classes in England, Price Collier in the Febru- 
ary number of the Forum estimates that there 
are probably about 250 people in England wha 
are making some kind of a living at writing 
novels. Of these, about fifty, with this and 
other work, clear more than $5,000 a year; a 
dozen make $10,000; and perhaps two or three, 
$15,000. Essayists and poets, as a rule, make 
nothing, and the great majority of novelists 

The Writer. 


make nothing. Journalists of the first rank 
make $5,000 a year, but, except a very few 
editors, none reach $10,000. Journalists who 
are reporters or paragraphists, and do all kinds 
of work, make from $1,000 to $2,000 a year. 
It would be interesting to get authentic figures 
regarding the incomes of literary workers in the 
United States — but authentic figures of this 
kind have never been secured as yet. There is 
a sort of glittering generality, indeed, about the 
estimates that Mr. Collier gives. 

* * 

The ability to write with either hand at 
will, or with both hands at once, used to be a 
very rare accomplishment, but a good many 
authors have it now. They use the typewriter. 

It is an odd fact that "poetry" is an anagram 
for "poverty," with one letter lacking — and 
that letter is a "V"! 

* * 

'* So utterly unnecessary an unhappy ending " 
( April Writer, p. 58) was really so uttterly 
unnecessary an unhappy sentence, that it is not 
strange that one of the readers of The Writer 
should devote a postal card to objecting to it. 

w. H. H. 



He had been writing busily all the evening. 
At length he came to the last paragraph. After 
composing an elaborate note to the Editor, he 
folded his manuscript, sealed and addressed the 
envelope, and rang for his servant to put it in 
the post. This done, he "betook himself to his 

But the night was warm, and he could not 
sleep. The air seemed to be filled with voices. 

Presently a woman's voice rose higher than 
the rest and said : " My name is Gladys, yet I 
am not glad. I am a heroine. My author 
states that I am beautiful, with a snow-white 
skin, ebon hair, ruby lips, and emerald eyes. I 
am appalled at this description, and am afraid 
to be alone with myself ! " 

Then a melancholy voice replied: "Thou art 
not alone, fair Gladys; for I, the heavy villain, 
am obliged to follow thee over the earth. I 
grow extremely weary, yet find the pursuit not 

so humiliating as that solecism which constrains 
me, in the last chapter, to kill myself in France 
by eating a poison persimmon — a fruit which 
is not poisonous, and which does not grow in 
France. Ah, woe is me ! " 

Here a third voice cried: "Your shame is 
great, but scarcely equals mine. I ! I use bad 
grammar on the very first page ! I * laugh ' every 
remark I make, or * frown,* or * storm,' or * rage ' 
it ; but never, never simply say it, as other peo- 
ple do. I am * garmented ' in men's clothes ; I 
smoke furiously, and from time to time exclaim 
* By Jove ! ' and pull my long moustache — yet I 
am only an animated broomstick, and not a 

Whereupon a small, childish voice made 
moan : " But my trouble is greater still ; for 
behold in me a weird monstrosity. I am a 
child who never said a childish thing ! " 

" And we ! " cried a whole chorus of voices. 
" Pray listen to us ! From beginning to end, 
we have been obliged to prattle about the hero- 
ine's virtues, the villain's knavery, and the 
hero's love. Not a word of interest has ever 
passed our lips, just because we were created 
to * help the plot along.' " 

At last the writer slept. 

A few days later his manuscript was returned, 
"with thanks." 

Said he : "I wonder why ? " 

Margaretta M. Morley. 

Clbvbland. Ohio. 


In looking over a box full of rejection slips, 
one cannot help being amused at the different 

One magazine has a large supply of matter 
already on hand, etc. — from which the untried 
author would think that if it were not for the 
articles already on hand, his humble effort 
would be taken. 

Another says that the article is not exactly 
suited to the wants of the publication to which 
it was sent, but doubtless it will find acceptance 
elsewhere. This in very many cases is likely 
to be true. 

Others briefly say that they have no use for 
the article, which they now t^^v\\wHvv<^x^«^^5>s», 


The Writer. 

The astonishing part of it all, however, is 
the gratitude the editors seem to feel for the 
"honor" of having been enabled to read the 
article ! To take rejection slips at exactly 
what they say would be to believe that really 
your article is quite wonderful, and that the 
editor is honored and pleased at having been 
able to read it; furthermore, there is no doubt 
but that some other editor will find it exactly 
suited to his needs; for "rejection does not 
necessarily imply lack of merit." 

Now, why can't editors use a simple business 
form that expresses what they mean, and yet 
which does not imply that the author is a soft- 
hearted creature who will be crushed by a 
refusal ? 

If the author is going into the fight, he must 
expect to be treated^ a business-like way. 

If the editor doesn't want his goods, that is 
enough, let him return them; but don't, I beg, 
enclose those wearisome slips. 

How I blessed the editor who enclosed with 
my rejected story a bit of paper, on which was 
written, " Not available." 

This was sensible. 

Of course, we writers don't like refusals — no 
one does. But we expect them, and editors 
can make them less unwelcome if they will only 
remedy the wording of their rejection slips. 
ABiNciTON, Mass. Harriet Caryl Cox. 


Which is right, " Tomorrow is Sunday," or 
" To-morrow will be Sunday " } a. f. g. 

[ The editor of the yournal of Commerce^ who 
recently answered a similar question, took the 
ground that, according to the technical rules of 
grammar, the phrase " to-morrow is " is correct. 
That which is always true in given conditions, 
he said, should, when stated within those con- 
ditions, be put in the present tense. Moreover, 
he argued, "to-morrow is" is sanctioned by the 
best usage, which is the ultimate test of correct- 
ness in speech. He cited examples from the 
standard English version of the Bible, as fol- 
lows : " To-morrow is the rest of the holy Sab- 
bath," Ex. xvi : 23 ; "To-morrow is the feast of 
the Lord," Ex. xxxvi 15;" Behold, to-morrow 
is the new moon," I. Samuel xx : 5. And so in 

Shakespeare : " To-morrow is the joyful day," 
"As You Like It," Act iv., scene 3; "Know 
to-morrow is the wedding day," " Taming of the 
Shrew," Act iii., scene i ; " And say, to-morrow 
is St. Crispin," " Henry V.," Act iv., scene 3 ; 
"For, lords, to-morrow is a busy day," " Richard 
III.," Act v., scene 3. 

It is hard, of course, to oppose such authori- 
ties as the Bible and Shakespeare, but as a 
matter of fact they are not infallible, so far as 
their use of English is concerned, and in the 
case of "tomorrow is" it is doubtful if their 
usage in the passages quoted coincides with that 
of the language of the present day. It is the 
habit of English-speaking people to put future 
things into the future tense, and even though 
" to-morrow is " may seem technically correct, the 
futurity of the idea makes the use of the future 
tense not only allowable, but natural and desira- 
ble. The argument that "to-morrow " exists only 
with relation to " to-day " applies equally well 
to "yesterday," but no one would think of say- 
ing for that reason, " Yesterday is Friday." 
" Yesterday was Friday " and " Tomorrow will 
be Sunday" are equally correct for common 
usage. The grammarian and the purist may 
stick to " Tomorrow is Sunday," if they will. — 
w. H. H. ] 

Can The Writer, or any reader thereof, 
tell me the name of the author of a poem en- 
titled " Magdalena " .^ It is a story of a lady of 
Seville, in Spain. I have asked for the author's 
name several times, and of as many publica- 
tions, in vain ; and now I come to The Writer 
for similar information. 1 shall be grateful to 
any one for the information desired. n. h. 

[ The editor of The Writer has never seen 
the poem referred to. Can any reader give 
" N. H. " the information desired t — w. h. h. ] 

Which is the higher authority, the dictionary 
or the rhetorics ? For example : " To con- 
sider." One of its definitions in Webster is 
"to estimate, think, regard, view; as, I con- 
sider him wise, a philosopher." The rhetorics 
agree in saying that this use of "consider" is 
incorrect. I could give a number of examples 
where the two authorities differ. o. t. c. 

[ The aim of the dictionaries is to give all the 
meanings of any word in popular use. The 
aim of the rhetorics is to tell what good usage 
is, not what popular usage is. Accordingly, in 



case of conflict between the dictionary and the 
rhetorics, the rhetorics must be regarded as 
rthe higher authority. — w. H. H.] 


I am more amused than surprised at a sug- 
gestion ol- process offered by " B. D.," of South 
Kaukauna, Wis., in the April Writer. He 
wants to save paper at the cost of ingenuity 
and time. The day has come when sulphite 
.fibre is king of cotton and linen, both. Ameri- 
can paper, whether for manuscript, pencil, or 
web-perfecting type impression, is cheaper than 
thought itself! At Kaukauna, every working 
day in the year, are produced many tons of scrib- 
blers' medium, at so low a price per ton that he 
would not care to weigh his original ideas in the 
balance. His thrift would have been com- 
mendable when paper was at a premium, but 
that is not the case now, nor will it ever be 
again, unless the supply of wood shall become 
•exhausted. H. c. l. 

Jbrsby City Heights, N. J. 


Thb Experimental Novel, and Other Essays. By Emile 
Zola. Translated by Belle M. Sherman. 413 pp. Cluth, 
,fa.oo. New York : Cassell Publishing Co. 1893. 

'Whatever one may think of Zola's work or 
-Zola's art, his ideas regarding literary principles 
are interesting — perhaps the more so because 
they are not always in accordance with the canons 
• of established literature. This book of his is a 
•collection of literary essays, of which '• The Ex- 
perimental Novel" is but one. Others are en- 
titled: '* Naturalism on the Stage," *'The Influ- 
ence of Money in Literature," and '* The Novel," 
some of the chapter subdivisions of the last- 
named paper being: *' The Reality,'* ** Personal 
Expression," *'The Critical Formula Applied 
to the Novel," " Description," and " Morality." 
Perhaps the most interesting part of the book 
Js the essay on *'The Novel." 

"The greatest praise that could be formerly 
•given to a novelist," says Zola, "■ was to say that 
'he had imagination.' To-day this phrase 
-would be looked upon almost as a criticism. 
This only goes to show that all the conditions 
of the novel have changed. Imagination is no 
longer thepredominatingquality of the novelist. 

" Balzac and Stendhal are the men who lead 
'this evolution; it is dating from their works 
.that imagination no longer counts in the novel. 
X.ook at our great contemp^oraneous writers, 
Oustave Flaubert, Edmond and Jules de Gon- 

court, Alphonse Daudet : their talent does not 
come from what they have imagined, but from 
the manner in which they show forth nature in 
its intensity. 

"I insist upon this fall of the imagination, 
because in it I see the characteristic of the 
modern novel. While the novel was a recrea- 
tion for the mind, an amusement, from which 
was asked only animation and vivacity, it is 
easily understood that the important thing was 
to show an abundance of invention before any- 
thing else. Even when the historical novel and 
the novel with a purpose appeared, even then 
it was still imagination which reigned omni- 
present, either in calling up vanished times or 
in the form of arguments, which characters, 
formed according to the need of the author, 
expounded. With the naturalistic novel and 
the novel of observation and analysis, the con- 
ditions change at once. The novelist invents, 
indeed, still : he invents a plan, a drama ; only 
it is a scrap of a drama, the first story he comes 
across and which daily life furnishes him with 
always. Then in the arrangement of the work 
this invention is only of very slight importance. 
The facts are there only as the logical results 
of the characters. The great thing is to set up 
living creatures, playing before the readers the 
human comedy in the most natural manner pos- 
sible. All the efforts of the writer tend to hide 
the imaginary under the real. 

" One could write an interesting paper on the 
subject of how our great novelists of to-day 
work. They base nearly all their works on 
profuse notes. When they have studied with 
scrupulous care the ground over which they are 
to walk, when they have gotten information 
fronf all the possible sources, and when they 
hold in their hands the manifold data of which 
they have need, then only do they decide to sit 
down and write. The plan of the work is brought 
to them by the data themselves, because the 
facts always classify themselves logically, this 
one before that one. Inevitably the work takes 
shape; the story builds itself up from all the 
observations gathered together, from all the 
notes taken, one leading to the other, through 
the linking of the lives of the characters, and 
the climax is nothing more than a natural and 
inevitable consequence. You can easily see, in 
this work, how little part imagination has in it 
all. We are very tar removed, for example, 
from George Sand, who, they say, put herself 
before a mass of white paper, and, starting out 
with the first idea, went on and on without slop- 
ping:, composing in a steady stream, relying 
solely on her imagination, which brought her 
as many pages as she needed to complete a 

"Suppose that one of our naturalistic novel- 
ists wishes to write a novel on theatrical U€e.. 
He sets out with t.\\\s ^ttTWC'3\\^^-i.>^\'<^^>^^'*^- 


The Writer. 

His first care is togather together in his notes all 
that he knows of this world which he wishes to 
depict. He has known such and such an actor, 
he has witnessed such and such a play. Here 
are data already, the best, for they have ripened 
within himself. Then he will set about the busi- 
ness, he will get the men who are best informed 
on the subject to talking, he will collect their ex- 
pressions, their stories, and their portraits. 
That is not all ; he then turns to written docu- 
ments, reading up all that he thinks will be of 
the slightest service to him. Finally, he visits 
the places, lives a few days in the theatre, so as 
to gain a perfect knowledge of all its recesses ; 
he passes some evenings in an actress' rooms, 
steeping himself as much as possible in the 
surrounding atmosphere. And, once his data 
are complete, his novel, as I have said, makes 
itself. The novelist needs but to distribute his 
facts logically. From what he has learned the 
plot of his drama, the story of which he has 
need as a general frame for his facts, will shape 
itself. The interest no longer lies in the 
strangeness of the story ; on the contrary, the 
more commonplace and general it is, the more 
typical it becomes. Make your real characters 
move in real surroundings. To give your 
reader a scrap of human life, that is the whole 
purpose of the naturalistic novel." 

'* To-day the ruling characteristic of the nov- 
elist," Zola goes on to say, *'is the sense of 
reality — to feel nature and to be able to depict 
her as she really is. . . . A great novelist should 
have the sense of reality, and also personal ex- 
pression. ... In a word, in a study of human- 
ity, I blame all description which is not an 
account of the environment which determines 
and completes man. I have sinned enough my- 
self to have the right to recognize the truth." 

So much for Zola's literary creed. His moral 
creed is expressed in another essay, where he 
says : " To write badly is the only crime which 
I can admit in literature. ... A well-made 
phrase is a good action ... In my opinion, 
the unworthy begins where talent ends." 

There are many passages in the volume, 
besides these, that are worthy of quotation. No 
student of the literary art can fail to be in- 
terested in it, no matter how much at variance 
his own ideas may be with what the author 
says. As for Zola's own opinion of his work, 
that is expressed in his introduction, where he 
says : *' Doubts assail me, and I ask myself. Is 
it possible that these articles will be found to 
be my best work? For I am overcome with 
shame when I think of the enormous pile of 
romantic rhetoric which lies behind me." 

w. H. H. 

Authors and Their Public in Ancient Times. Hy Oeorce 
Haven Putnam. 309pp. Cloth, $1.50. New York: G. 
P. Putnam's Sons. 1894. 

Mr. Putnam's book, as its sub title says, is "a 
slcetch 0/ J/ter^ry conditions and of the relations 

with the public of literary producers, from the- 
earliest times to the invention of printing." It. 
was originally written, the author says, to forn* 
a preliminary chapter, or general introduction,., 
to a history of the origin and development of' 
property in literature, a subject in which he 
has for some time interested himself. He^ 
points out that in the modern sense of the term,., 
no such thing as literary property existed ia 
ancient times, or, in fact, until some consider- 
able period had elapsed after the invention of 
printing. It was not until publishers began tOi- 
make arrangements to give compensation to con- 
temporaneous writers for the preparaton of 
original works, or for original editorial work 
associated with classic texts, and not until, ins 
connection with such arrangements, the pub- 
lishers succeeded in securing from the state 
authorities, in the shape of "privileges," a. 
formal recognition of their right to control the 
literary work then produced, that literary 
property, in the sense of intellectual property^, 
came into an assured and recognized, though 
still restricted, existence. Property of this 
kind did not exist in Athens, in Alexandria, or 
in classic Rome, although there is evidence 
that in these cities there gradually came intO' 
existence a system, or a practice, under which, 
authors secured some compensation for their 
labors. The evidences, or indications, of pay- 
ments to authors are mainly to be traced in 
scattered references in their own works. It is- 
only when the Augustan age of Roman litera- 
ture is reached that we find in the works of 
such writers as Cicero, Martial, Horace, Catul- 
lus, and a few others a sufficient number of 
references upon which to base some theory, at 
least, of the relations of the authors with their 
publishers, and also a<; to the publishing and 
bookselling methods of the time. Mr. Putnam^ 
has sketched in this book these "beginnings of 
literary property," and has prefixed some pre- 
liminary sketches concerning the beginnings of 
literature in Chaldea, Egypt, India, Persia, 
China, and Japan. His work is a most interest- 
ing and instructive one, and it is to be hoped' 
that the engrossing business cares and the in- 
creased necessity for economizing^ eyesight, to- 
which he refers in his preface, will not prevent 
him from carrying to completion his proposed 
sketch of the development of property in litera- 
ture from the invention of printing down to the 
present day. w. h. h. 

German for Americans. Py Dr. Jacob Mayer. Fourth-, 
edition. 219 pp. Cloth, $1.00. Philadelphia: I. Kohler. 

Dr. Mayer's *' German for Americans" has- 
reached its fourth edition — perhaps the best 
evidence of its value as a means for self-in- 
struction in the German language. The plan 
of the book is excellent. The pronunciation oi 
each German word used is given with the word» 
warranting correctness in reading. The gram» 

The Writer. 


matical rules, though simple and comparatively 
few, cover the whole ground. The collection 
of phrases and dialogues is arranged with due 
regard to the peculiarities of the language and 
the needs of the student at home and abroad. 
The vocabulary, containing about 5,000 words, 
classifies nouns according to their gender, in 
three columns on each page. Throughout, the 
book is a sensible one. Its method is practical, 
and the results of using it are likely to be good. 

w. H. H. 

Tm First Thrbb Ybars of Childhood. By Bernard Perez. 
Edited and translated by Alice M. Christie. 295 pp. Qoth, 
$1.50. Syracuse, N. Y. : C. W. Bardeen. 1894. 

Nothing can be of greater human interest 
than the study of the mental development of 
the child. M. Perez's book is the result of his 
having set himself to follow out in little chil- 
dren the gradual awakening of those faculties 
which constitute the psychic activity. For 
such a work, as a lover of children, a trained 
psychologist, and a writer of paedagogic litera- 
ture, M. Perez was admirably qualified. His 
book is not a biographical sketch of a single 
child. He has made special note of the prog- 
ress of one or two children who have come 
more especially within his observation, but his 
record is a wide and comprehensive one, com- 
paring observations of a large number of chil- 
dren and arranging the results attained. Its 
scope may best be understood from mention of 
some of the chapter headings, viz. : *' The Fac- 
ulties of the Infant Before Birth," " The P'irst 
Impressions of the New-born Child," " Motor 
Activity at the Beginning of Life — at Six 
Months — at Fifteen Months," "The First 
Perceptions," "General and Special Instincts," 
"The Faculties of Intellectual Acquisition and 
Retention," " On the Elaboration of Ideas," 
*• On Expression and Language," " The ^Es- 
thetic Sense in Little Children," " The Moral 
Sense." M. Perez looks at the infant from the 
educator's point of view, and his book is a 
practical guide to the mother and teacher. It 
IS both scientific and popular at once, and every 
intelligent parent will find it to be a book of 
unusual interest. w. h. h. 

Thb Book op thb Fair. An historical and descriptive pres- 
entation of the world's science, art, and industry, as viewed 
through the Columbian Exposition at Chicago in 1893 By 
Hubert Howe Bancroft. Part IX. 40 pp. Paper, $1.00. 
Chicago and San Francisco : The Bancroft Company. 1894. 

Part IX. of the sumptuous Bancroft " Book 
of the Fair " continues the lavishly illustrated 
account of the wonders of Machinery hall, at 
the Chicago exposition* including pictures of 
the modern paper-making machine, printing 
presses, paper-cutters, book-binder's ruling and 
stitching machines, and one of the fast type- 
setting machines. In the same part is the be- 
ginning of the thirteenth chapter, describing 
and illustrating the Agricultural building and 

its exhibits. The value of this work becomes- 
more evident with the publication of each new 
number. w. h. h. 

Practical Synonyms. By John H. Bechtel. 226 pp. 
Cloth, 50 cents. Philadelphia: Penn Publishing Co. 1893. 

The merits of Mr. Bechtel's new handbook 
of synonyms are its convenience of form, its 
clearness of arrangement, the broadness of its 
plan, and its feature of giving the prepositions- 
which are properly used with different words. 
This last-mentionea feature is an important one. 
Those who incorrectly use such expressions as 
"correspond with" for "correspond to," or 
"different to" or "different than" for "dif- 
ferent from," will find their errors pointed out 
in this book. In forming his lists of synonyms 
Mr. Bechtel . has made them as diversified as 
possible by including words of somewhat dis- 
tantly related meaning, thus increasing copious- 
ness of suggestion in the enlarged group of 
words. The book is a handy one, and, kept 
within easy reach, it will supply in an instant 
the word ior which a writer might long cudgel 
his brain in vain. w. H. H. 

Thb Siberian Exilk. By Gustav Nieritz. Translated by 
Mary E. Ireland. laa pp. Cloth, 60 cents. Richmond, 
Va. : Presbyterian Committee of Publication. 1894. 

Mrs. Ireland has earned an excellent reputa- 
tion as a translator, nine of her translations 
having been published and two more being now 
in press. " The Siberian Exile " is a charming 
story of Christian home life in Russia ana 
Siberia. It is interesting and well-written, and 
the translator's work has been admirably done. 

w. H. H. 


[ All books sent to the editor of Thb Writer will be ac- 
knowledged under this heading. They will receive such further 
notice as may be warranted by their importance to readers of' 
the magazine.] 

LovB Affair.s of a Worldly Man. By Maibelle Justice. 
311pp. Paper, 50 cents. Chicago: F. T. Neely. 1894. 

LovB Letters of a Worldly Woman. By Mrs. W. K. 
Clifford. 285 pp. Paper, 50 cents. Chicago : F. 
Neely. 1894. 

The Anarchist. By Richard Henry Savage. 399 pp. 
Paper, 50 cents. Chicago : F. T. Neely. 1894. 

On a Margin. By Julius Chambers. 416 pp. Paper, 50 
cents. Chicago : F. T. Neely. 1894. 

A Dead Man's Step. By I^wrence L. Lynch ( E. Murdock 
Van Deventer). 583 pp. Paper, 50 cents. Chicago: Rand^ 
McNally, & Co. 1894. 


Pigeon-hole Extension. — Every writer who 
has used pigeon-holes — and every writer should 
use pigeon-holes — has found that Vv^dvL^X-V^*^ 


THE Writer. 

pigeon-holes enough. I don't mean writers who 
have pigeon-holes for ornament ; I mean writers 
who use pigeon-holes — who take things out of 
them as often as they put them in — who don't 
have one particular receptacle marked " Im- 
mediate," and always crammed to overflowing, 
with the undisturbed dust of ages on. the mis- 
cellany jammed inside. When writers who 
really use pigeon-holes, then, find the supply of 
available pigeon-holes giving out — as it always 
does when you use 'em right — they may find it 
a good scheme to subdivide them by the use 
of envelopes. Six labelled envelopes, with 
the flaps tucked in, inside of one labelled 
pigeon-hole, are almost as good as seven pigeon- 
holes — and they take up much less room. For 
instance, a pigeon-hole labelled ** Material for 
Articles Under Way " may have in it envelopes 
labelled "Suicide as a Fine Art," "The Idiocy 
of Editors," "Bicycling for Bishops," "The 
Disadvantages of Putting Arsenic in Nursing 
Bottles," "Sleeplessness the True Theory of 
Insomnia," and " How I Wrote My Successful 
Novel." Notes or newspaper clippings for use 
in the final writing of any one of these interest- 
ing articles may be filed in the proper envelope, 
where they will be found happily classified, 
when the day for writing it arrives, w. h. h. 

Boston, Mass. 

To Mend Torn Pages. — If you chance to 

tear a page of the book you are reading, take 

some white tissue paper and the while of an 

tgg for mucilage, and you can mend them 

neatly with very little trouble. The white of 

the egg will not stain the paper, and the tissue 

paper is so thin that print can easily be read 

through it. A. B. l. 

Mbdford, Mass. 


[The publisher of Thb Writbr will send to any address a 
copy of any magaxine mentioned in the following reference list 
on receipt of the amount given in parenthesis following the name 
— the amount being in each case the price of the periodical, 
with three cents Postage added. Readers who send to the pub- 
lishers of the periodicals indexed for copies containing the ar- 
ticles mentioned in the list will confer a favor if they will men- 
tion Thb Writbr when they write.] 

Thb First-Edition Mania. William Roberts. Re- 
printed from Fortnightly Review in Sunday School Times 
< 8 c. ) for April 7. 

My First Visit to Nbw England. W. D. Howells. 
Harper's Monthly ( 38 c. ) for May. 

CoNSTANCB Fbnimorb Woolson. Charles Dudley Wuner. 
" Editor's Study " in Harper's Monthly (38 c. ) for May. 

Fi^MMARioN, THB AsTRONOMBR. R. H. Shcrard. Mc- 
Clure^s Magazine ( 18 c. ) for May. 

Bookbindings of thb Past. Brander Matthews. Cen- 
tury ( 38 c. ) for May. 

Thb English Languagb in Ambrica. W. J. Stillman. 
Century ( 38 c. ) for May. 

. Thb Valub OF Dialbct. Professor A. Wauchope. North 
American Review ( 53 c. ) for May. 

Thb Unknown Lifb of Christ. Edward Everett Hale. 
North A merican Review ( 53 c. ) for May. 

Thb Smallbst Books in thb World Gaston Tiwan- 
dier. Translated from La Nature in Literary Digest ( 13 c. ) 
for April 28. 

Illuminated Manuscripts. Literary Digest ( 13 c. ) for 
April 28. 

Thb Limit of Athlbtics for Brain Workbrs. Mau- 
rice Thompson. Chautauquan ( 28 c. ) for May. 

English Mothbrs in Fact and Fiction. Miss EL F. 
Andrews. Chautauquan ( 28 c. ) for May. 

Fitz-Jambs 0*Bribn and His Timb. Champion Bissell. 
Lippincott" s (28 c.) for May. 

Rudimbntarv Mistakbs of Writers. Lippincott* s {2% c) 
for May. 

Washington Ikving. With fac-simile of his manuscript. 
Brander Matthews. St. Nicholas ( a8 c ) for May. 

Advicb to Young Writers. Illustrated with portraits. 
Lew Wallace, James Grant Wilson- George W. Cable, Julia 
Ward Howe, H. H. Boyesen, Gertrude Atherton. Demorests 
( 23 c ) for May. 

Thb Ethical Valub of thb Novbl. D. H. Hill, Jr. 
Southern Magazine (28 c.) for May. 

S. R. Crockett. With portrait. Bookman (20 c.) for 

Realism of To day. Countess Cnwper. Reprinted from 
Nineteenth Century in Eclectic ( 48 c. ) for May. 

Francis Parkman and His Work. .\. E. Bradley. 
Reprinted from Macmillan*s Magazine in Eclectic ( 48 c. ) 
for May. 

The Art of Reading Books. J. E. C. Welldon. Re- 
printed from National Review in Eclectic ( 48 c. ) for May. 

Mrs. Margaret Dbland. With portrait. Literary 
Monthly ( 1 3 c. ) f or April 26. 

A Glance at Lami'MAN. Arthur J. Stringer. Canadian 
Magazine ( 28 c. ) for April. 

Miss Nancy Bailey (the English indexer). With por- 
trait. Ladies* Home Journal (13 c.) for May. 

Francis Parkman. — I. Justin Winsor. II. John Fiske. 
Atlantic Monthly ( 38 c. ) for May. 

Poetry in General and in Particular. Atlantic 
Monthly ( 38 c. ) for May. 

Methods of Engraving. — II. American Journal of 
Photography (28 c.) for April. 

Photogravure. Photo- A merican ( 13 c. ) for April. 

Gborgb Ticknor Curtis. With portrait. Harper^s 
Weekly (13c) for April 7. 

George i>u Mauribr. With portnut. Henry James. 
Harper s Weekly ( 13 c. ) for April 14* 

Hbnry Cabot Lodgb. With portrait. Theodore Roose- 
velt. Harper's Weekly ( 13 c. ) for April 14. 

Thb Congressional Library. With illustrations. Nannie 
Belle Maury. Harper's Weekly ( 13 c. ) for April ai. 

The Writer. 


David Dudlby Fibld. With portrait. Harper's Weekly 
( 13 c.)for April 21. 

NoTBS AND Lbttbrs. Harper^s Bazar (13 c. ) for 
April a I. 

Thb Editorial and Its Functions in Journausm. 
C. L. Wood. Journalist ( 13 c. ) for April 21. 

Edison and thb Kinbtiscopb. With illustrations. PhotO' 
graphic Times ( 18 c. ) for April 6. 


Mrs. Louise Chandler Moulton will sail for 
Europe about May 26. 

Miss Agnes Repplier will sail for Europe 
about May i, to be absent several months. 

Mrs. Frances Hodgson Burnett, who has been 
in Washington this winter, has been visiting in 
Boston. She will go to London this month, as 

Mr. and Mrs. Rudyard Kipling and the baby 
Kipling have sailed for England, where they 
will spend the summer. 

Rev. Dr. Edward Everett Hale celebrated 
his seventy-second birthday, April 3, in Wash- 

An Irish magazine for Irish readers, written 
by Irishmen and Irishwomen, and called the 
Old Country^ will be begun in Dublin this 
month, under the editorship of Rev. Frederick 

The hundredth anniversary of the birth of 
William Cullen Bryant will be observed Novem- 
ber 3, at Great Barrington, Mass. 

John Brisben Walker, publisher of the Cos- 
mopolitan^ has decided to move his plant and 
publication office from New York to Irvington- 
on-the-Hudson, where he now resides. 

The University Magazine ( New York ) has 
gone into a receiver *s hands. It was started 
about six years ago. 

The comic weekly Hallo (New York) has 
suspended publication. Carl Hauser and Con- 
stantine de Grimm, the artist, were the founders 
of the paper, and De Grimm was the principal 
pictorial contributor. 

The firm of Charles L. Webster & Co., New 
York, consisting of Samuel L. Clemens ( " Mark 
Twain ") and Fred J. Hall, made an assignment 
April 18. 

Miss Charlotte Yonge, for forty-three years 
the editor of the Monthly Packet^ has beea 

The Minerva Publishing Company, of 25 
Vandewater street. New York city, has con- 
fessed judgment for $14,983 in favor of Frank 
T. Morrill on a demand note dated March 24, 
for a loan. The judgment is signed by T. T. 
Timayenis as president. The sheriff has re- 
ceived an execution for $136 against the com- 
pany in favor of Eugene A. Hoffman, and has 
levied on the safe and a quantity of books. 
Mr. Morrill says that he owns the plant. 

We Engraver and Printer Company, of Bos- 
ton, has been reorganized, and will continue 
the publication of the Engraver and Printer, 
Henry Lewis Johnson retains the position of 
editor, while Albert G. Glover will be the busi- 
ness manager. 

The Arena (Bqston) closes its ninth volume 
with the May number. The Arena has made 
steady progress since its foundation, and now 
firmly holds its place as one of the three leading 
American reviews. 

The advertisement writers of Washington 
have organized the Ad. Writers' Association, 
its members being G. A. Lewis, E. F. Fane, G. 
Nordlinger, Carl Fast, G. W. Miller, F. McC. 
Smith, J. A. Shaffer, C. C. Archibald, J. Price, 
A. Kaufman, W. G. Kent, William A. Hunger- 
ford, I. Gans, and F. H. Pierce. The officers 
of the association are : President, George A. 
Lewis ; vice-president, William A. Hungerford ; 
secretary, F. H. Pierce ; treasurer, Isaac Gans. 

William Henry Bishop is now settled in New 
Haven as an instructor in French and Spanish 
at Yale. During five years Mr. and Mrs. 
Bishop, with their two children, " kept house in 
romantic places," — in France and Italy prin- 
cipally, — and their experiences are given in the 
" House Hunter in Europe," recently published 
in attractive form by Harper & Brothers, which 
tells how little it costs to keep house in Europe, 
and what pleasure there is in it. 

Public opinion ( Washington ) began its ninth 
year with its number of April 5. Public 
opinion is an invaluable help to all who want 
to keep informed regarding the leading topics 
of the day. 



Notwithstanding all rumors to the contrary, 
Dr. Oliver Wendell Holmes has definitely de- 
cided that he will not give his memoirs to the 
public during his lifetime. In a recent conver- 
sation Dr. Holmes remarked : " I work at the 
memoirs an hour or two each day, and am 
making satisfactory progress. That is, I have 
about one-half completed of all I shall write." 

Flammarion, the French astronomer and 
author, as seen in his Paris home and amidst 
his daily tasks, is the subject of an article by 
R. H. Sherard \n McClure's Magazine {^t^t 
York ) for May. The article is fully illustrated. 


The next annual meeting of the Western Asso- 
ciation of Writers is to be held at Spring Foun- 
tain Park, Warsaw, Ind., during the last week 
in June, beginning Monday evening and closing 
Friday evening. Those who wish more accu- 
rate information can obtain it by addressing the 
secretary. Miss Ida May Davis, Terre Haute, 

Miss Beatrice Harraden, the author of " Ships 
That Pass in the Night," will shortly arrive in 
New York on her way to California. She in- 
tends, by advice of her doctor, to spend several 
months there on a fruit farm. Miss Harraden 
some time ago lost the use of her right hand 
through entire failure of the ulnar nerve by 
overstrain in writing and in 'cello playing. She 
is too nervous for dictation, and hated a type- 
writer, and has consequently had to do a large 
part of her writing with her left hand. Her 
little book, it is said, was written with the 
greatest difficulty. She means to write another 
novel while in California. Miss Harraden is a 
member of a musical and artistic family, the 
daughter of a man of scientific attainments, 
who is her sternest literary critic. She has 
taken a B. A. degree in classics and mathe- 
matics at the London University, and heartily 
advocates the higher education of women. She 
is also an enthusiastic supporter of woman's 
suffrage. Her new book, a collection of short 
stories, is coming from the Putnam press. 

The Photographic Times ( New York ) says 

that more than seventy-five per cent, of the 

illustrated books now published are indebted 

to photography, directly or indirectly, for their 


Porter & Coates, of Philadelphia, in view of 
the great interest now taken in the history of 
American families, are issuing in the Literary 
Era a list of the American genealogies which 
have been printed in book form. The list will 
be brought up to date, and will be much more 
complete than any such work heretofore at- 

A new portrait of Benjamin Franklin has been 
discovered recently in Paris, a terra-cotta me- 
dallion modelled from life, which shows the 
genial side of Franklin's nature better than any 
existing portrait. Paul Leicester Ford has 
written a brief article to accompany a photo- 
graph of it in Scribner's Magazine for May. 

The Forum's circulation has jumped from 
16,000 to 46,000 per month, as a result of the 
reduction of the price from fifty cents to twenty- 
five cents a number. The American News Com- 
pany's order for the May issue is 25,000 copies. 
Formerly the news company took 6,000 copies 
each month. 

Dr. Noah Brooks, until recently editor of the 
Newark ( N. J. ) Advertiser, has returned to his 
birthplace at Castine, Me., where he intends to 
spend the rest of his days. 

J. M. Stoddart, who has had a long connec- 
tion with Lippincotf s Magazine as editor and 
manager, has accepted a position with an inter- 
national publishing company, and has been 
obliged to sever his connection with Lippin- 
cotfs. The name of his successor has not yet 
been announced. 

The Washington Capital says that Corporal 
Tanner is to become the editor of Home and 
Country, the soldiers' magazine, published in 
New York. 

Aubrey Beardsley, the artist whose fantastic 
drawings are just now a " fad " of English 
bookmakers, is not much more than twenty 
years old. 

The very latest literary novelty in France ia 
a story written by collaboration, and printed in 
two kinds of type, so that the reader may see 
at a glance which author he is perusing. 

John Oliver Hobbs in private life is Mrs. 
Craigie. She is twenty-six years old, and al- 
though she has spent her life in England and 
France, she is by birth an American. 

The Writer. 


Speaking of General Grant's *' Memoirs," T. 

C. Crawford, mMcCiure's Ma^azineior May,— 

-which, by the way, is a Grant number, — says: 

-**No other book written in this country has 

•ever returned such a large reward. At the 

time of this writing the Grant family has re- 

-ceived from the royalties paid by the publishers 

of the work more than $440,000, and the sale 

cstill goes on. The cheaper edition, which the 

publishers are now about to bring out, may 

result in another phenomenal sale, so that it is 

■within the range of possibility that the 

^* Memoirs " may yield in the neighborhood of 

three-quarters of a million of dollars to General 

•Grant's heirs." 

" Fra Paolo Sarpi, the Greatest of the Vene- 
tians," by Alexander Robertson, is announced 
Ijy Thomas Whittaker. The author has been a 
resident of Venice for many years, and has 
studied closely the subject of his monograph. 

Francis Thompson, who is hailed in London 
as a great poet, was selling matches in the 
streets not long ago. This was only a tem- 
porary experience with poverty, however, for he 
is a college-bred man, well up in thj classics 
and in medicine. His first book of verse, pub- 
lished last December, has already gone through 
three editions. At present he is living a retired 
Jife at a Capuchin monastery in Wales. 

Mr. John Holmes, the brother of Dr. Oliver 
Wendell Holmes, and equally dear with his 
famous relative to the smaller circle which sur- 
rounds him in Cambridge, is suffering from im- 
paired sight; yet, with characteristic courage, 
he is taking up the study of the piano at his 
advanced age. 

Henry Mills Alden, who is a descendant of 
John Alden of Mayflower fame, has been editor 
of Harper's Magazine for twenty-seven years. 

" Do show us the manuscript of * Pem- 
broke ! ' Do let us see ' Pembroke ! ' " ex- 
claimed two young ladies who were being 
conducted through Harper & Brothers* com- 
posing-room. They were not to be comforted 
-when they learned that the story was wholly 
typewritten, and, while reverently holding some 
of the typewritten sheets, declared it was as if 
they had hoped to take Miss Wilkins' hand, 
but had only touched her glove. 

Caspar W. Whitney has just returned from 
his pilgrimage to Great Britain, where he spent 
ten weeks visiting the various sport centres. 
His impressions, profusely illustrated, will be 
given in the series of articles now running in 
Harper's Weekly^ touching upon the general 
sporting spirit of England. 

Still another Scotch writer has risen into 
prominence of late years, and one, moreover, 
who, following in the wake of Stevenson and 
Barrie, bids fair to rival even them in popu- 
larity. For, although ** The Raiders " is only 
the second work of the Rev. S. E. Crockett, of 
Penicuick, there has been the greatest demand 
for it even in advance of its publication. On 
the other side the entire edition was sold out 
before it was issued, and here in America a 
second edition has been called for only a week 
after the publication of the first. 

The congress of authors and journalists in 
Germany has petitioned the reichstag for the 
'cancellation of the copyright treaty concluded 
in 1892 with the United States. The petition- 
ers advise that no other treaty be made unless 
it be fully reciprocal. 

The last of the important series of papers of 
literary criticism by James Russell Lowell ap- 
pears in the Century for May, under Jthe title 
of " Fragments," consisting of three short 
articles ; one on " Life in Literature and Lan- 
guage " ; another on the epic of " Kalevala," of a 
portion of which there is an unpublished trans- 
lation in verse by Mr. Lowell ; and third, a 
beautiful passage on the differences between 
style and manner. 

The profits of literature, as examplified in 
the case of Mrs. Humphry Ward, are thus dis- 
cussed in the Critic : ** For the American and 
English markets alone she was paid for * David 
Grieve' $80,000. She got from the British 
colonies — Australia, India, etc. — no mean 
sum, I fancy, for they are big countries, and 
their people are great readers of popular litera- 
ture. Say that she gets $80,000 more for 
* Marcella,* and that she got $40,000 for ' Robert 
Elsmere.* That is $200,000 for three books 
written during a period of about six years. 
Not bad pay, when one considers that it is all 



The formation is announced in England of a 
Bronte Society, the object of which is to ac- 
quire literary, artistic, and family memorials of 
the Brontes ; photographs of persons ahd places 
identified with them and their works in York- 
shire, Ireland, Cornwall, Essex, Brussels, etc. ; 
copies of all books and fugitive articles, illus- 
trating the novels and the districts in which the 
Brontes resided — all these acquisitions to be 
placed at Haworth, or some other appropriate 
locality, for the free inspection of the members 
of the society, and to be offered for public ex- 
hibition. Mme. Emma C. Cortazzo, 330 Dart- 
mouth street, Boston, will be glad to furnish 
information on this subject, unofficially, to those 

The Sketch ( London ) prints an interview 
with " Iota," a new writer, who has made a suc- 
cess with her novel, " A Yellow Aster." A por- 
trait accompanies the article. " Iota*s " real 
name is Mrs. Mannington Caffyn. She is de- 
scribed as "a tall, fair woman, with Irish eyes 
smiling out of a clever, earnest face, with just a 
suspicion of a dainty brogue." 

The real name of Henry Seton Merriman, 
whose novel, " With Edged Tools," is now run- 
ning anonymously through the Cornhill Maga- 
zine^ is H. S. Scott. Mr. Scott is the author 
of '* The Slave of the Lamp." 

In Harper 5 Magazine for May W. D. How- 
ells gives his first impressions of New England. 
As a young man he made a journey from his 
home in Columbus, O., to Boston, where he met 
Longfellow, Lowell, Emerson, Holmes, Haw- 
thorne, and most other literary lights of the 
New England of thirty years ago. The account 
of this journey will be given in four papers, the 
first, which appears in the May Harper*s^ deal- 
ing with the journey as far as Portland, and de- 
scribing a chance meeting with Bayard Taylor. 

The frontispiece of Wilson's Photographic 
Magazine ( New York ) for April is an exquisite 
example of the best modern photographic por- 
trait work. 

The Magazine of Art {l^tyf York) for May 
has, besides a full-page etching and other at- 
tractive features, a sketch of Emile Wauters, 
portrait painter, with some interesting exam- 
p/es 0/ his work. 

The editor of the English Public Opinioft 
since 1884 has been Percy White, the author 
of " Mr. Bailey-Martin." The success of his 
first novel has induced Mr. White to write an- 
other, which will also be in autobiographical 

Stanley J. Weyman, whose historical novels 
have given him a substantial fame in England, 
is thirty-nine years old, an Oxford graduate,, 
and has had experience as a newspaper man 
and a lawyer. 

Mrs. Terry, of Rome, Italy, the mother of F. 
Marion Crawford, is said to be the oldest 
American resident of the Eternal City. She 
was living there with her first husband, Thomas 
Crawford, the sculptor, when Hawthorne wrote 
" The Marble Faun," in which Mr. Crawford, 
his identity lightly veiled, figures conspicuously. 

The editor of the Popular Science Monthly 
takes certain imaginative writers to task for 
their unscientific and absurd statements regard- 
ing '* the young moon " and " the crescent 
moon," and advises them to leave it alone, be- 
cause they so often contrive to get it in the 
wrong place. In a recent story which ha» 
come under his notice he finds two friends 
described as sitting out one summer evening, 
looking over the Thames, and the writer goes 
on to say : " By this time the young moon had 
arisen, and its cold light shimmered over the 
misty river." Such writers are reminded that 
the young moon goes to bed early, and can 
never be seen in the process of rising. 

Mrs. Jane G. Austin died in Boston, March 

Mrs. J. A. Allen, of Kingston, Ont., mother 
of Grant Allen, novelist and essayist, is dead. 

Ben King, the Michigan poet and humorist, 
was found dead in bed April 7, at a hotel at 
Bowling Green, Ky., where he had appeared in 
public the night before. His home was in St. 
Joseph, Mich., where he had a wife and two 

David Dudley Field died in New York city 
quite suddenly, from pneumonia, April 13. He 
had just returned from Europe, and was appar- 
ently in excellent health. 

Major Joseph Kirkland died in Chicago, of 
heart disease, April 29. 




Vol. VII. 

BOSTON, JUNE, 1894. 

No. 6. 

Entered at the Boston Post-office as second-class mail matter. 

CONTENTS : page 

Thb Unknown Author. Edward Kirkland Cowing. . 8i 
RuLBS FOR Copying Manuscripts on thb Typkwritbr. 

IVilliam H. Hats 8a 

An Ohio Port— Aucb Williams Brothbrton. Mary 

E. Cardwill. 84 

Editorial 88 

Book Advertising as a Fine Art 88 

Thb Editorial "I." A. W. Dennis 88 

Qubribs 89 

Thb Usb and Misuse of Words 90 

" ObUged to Have Asked " and " Nom de Plume." . 90 

Book Rbvibws 90 

Hblpful Hints and Suggestions 9a 

To Read Curled Manuscripts, 9a — Typewriter Back- 
ing Sheet 93 

Litbrarv Articles in Periodicals 93 

News and Notes 94 


At what a disadvantage is the beginner in 
literature. Like a recently landed foreigner, he 
gazes about him, undecided to which point of 
the compass he should turn. He looks for 
some friendly face, but is regarded with cold- 
ness. Among so many people, very little sym- 
pathy is offered him. He realizes that they all 
have their friends, and begins to feel dis- 
couraged. Suddenly, at an unexpected 
moment, some one smiles, holds out a helping 
hand, and speaks kind words ; then hope again 
springs into life. Onward he plods, with an 
occasional ray of brightness entering his lonely 
life, until some morning he awakes to find that 
he is no longer an unknown author. Then are 
many smiling faces turned toward him, and the 
whole world seems full of friends. 

So much prejudice is felt against the unknown 
author, that many readers will not pause to ex- 
amine even the title of a book by an unfamiliar 

writer, and so editors are often inaccessible to 
strangers with manuscripts for examination. 

A certain book had been recommended to a 
friend of mine. She began it, but it failed to 
hold her interest. She cast it aside with the 
remark : " I won't read it. It*s by an unknown 
author anyhow." 

This may strike the reader as quite incon- 
sistent, until he is assured that much literature 
written by experienced authors was at that 
moment resting upon her shelves inviting her 
perusal and enjoyment. 

Life is so brief and the field of literature so 
infinite, that one dare not hope to do more than 
read the most talked-of books of the day, leav- 
ing the works that attract small attention for 
those spare moments, which are so frequently 
referred to, but which, alas ! never arrive. 

A tabulated list of books published in 
America during 1893 reveals an astonishing 
total of 4,281 new books and 853 new editions, 
a gain over 1892 of 207 new books and sixty- 
five new editions. 

The unknown author, then, has three principal 
difficulties to combat: the indifference of 
editors, the prejudice of the public, and the 
fierce competition with writers who have 
acquired names. 

It requires a stout heart, a ready brain, and a 
persevering pen to overcome these three 
powerful adversaries, who, without intending it, 
are often so cruel. 

To be sure, there are too many books written, 
and, excepting as to the "per cent.," I agree 
with an utterance I recently overheard, which 
was as follows : '* Burn ninety per cent, of the 
books now being published, and you will gain 
pleasure and instruction from the remainder, 
without losing anything by the operation." 

Copyright, 1894. by WiLUXU H. H\\.\A. KW n^\& x 


The Writer. 

Until this ninety per cent., or whatever figure 
represents the true ratio of useless books, is, by 
some means, reduced or suppressed, there will 

be a continuance of the present stagnation ia 
the market for works by unknown authors. 
Nbw York, n. y. Edward Kirkland Cowing. 


Number the pages of the manuscript in the 
centre of the top of each page, making the 
paging consecutive from the first page of the 
manuscript to the last. This is the rule even 
in the case of manuscripts divided into chapters 
or parts. It is a mistake to number each chap- 
ter or part separately. 

Put the name and address of the author in 
the left-hand upper corner of the first page, 
beginning flush, — /'. ^., at space i on the scale, so 
that the first letter will strike one-half inch from 
the left-hand edge of the paper. In the upper 
right-hand corner, on the same line, put : 
"About 2,500 words," — or whatever the num- 
ber of words in the manuscript may be, — start- 
ing it so that the period will strike one-half 
inch from the right-hand edge of the paper. 

Write the title in capitals in the centre of the 
top of the first page of the manuscript, leaving a 
blank space of about one inch above it. Do 
not write the title alone by itself on a separate 
sheet. It improves the appearance of a manu- 
script to take a ruler, after typewriting it, 
and draw a neat line in black ink underneath 
each word of the title. Don't use red ink for 

Underneath the title write in the centre of 
the next line: "By William D. Howells," or 
whatever the name of the author may be. In 
case a pseudonym is used, the writer's real 
name and the pseudonym will thus appear on 
the same page. Write the author's name, also, 
at the end of the manuscript, dropping it a line 
below the last paragraph, and counting the 
letters so that you can make the period after 
I'le name come one inch from the right-hand 
ctlge of the paper. Underscore the signature 
at the end of the manuscript, either with the 

machine, or with a ruler and pen. The reason 
for writing the author's name twice is that some 
editors credit an article at the beginning, and 
others at the end. If the name is written in 
both places, the editor has only to cross out 
the name he doesn't want, and credit is sure 
not to be- omitted by any oversight. 

For long manuscripts always use good linen 
paper, 8x10^ inches in size. For short manu- 
scripts, paper 5x8 inches in size may be used, 
and the typewriting may run either way of the 
sheet that the author may prefer. 

Always use the double space in making manu- 
scripts for the press. 

Put the paper in the typewriter so that there 
will be a margin of a half -inch on the left-hand 
side of the sheet, and set the warning bell so 
that you will remember to make the margin on 
the right-hand side as nearly as possible the 

Try to avoid dividing words at the end of the 
line, and never divide any word excepting on a 

Indent each paragraph five spaces at the 

Always leave three spaces between sentences. 
When a quotation is begun within a sentence 
( as, for instance : "Edwin said: 'Come, Ethel- 
inda!'") leave two spaces after the colon, 
before the quotation begins. Always leave two 
spaces after a semi-colon. 

Be extremely careful in the use of quotation 
marks. Remember that within double quota- 
tions single quotations should be used, if any 
quotation mark is required, and that within 
single quotations, in the same case, double 
quotations should be used. For instance, the 
quotation marks are rightly used in this ex- 

The writer. 


ample : ^ John said : ' He was angry because I 
called him "cry-baby." ' " 

When two sets of quotation marks are used 
together, on the Hammond typewriter leave a 
space between them. For instance, after "cry- 
baby" in the example just quoted, the type- 
writer copyist should write : period, double-quote, 
space, single-quote, space, double-quote. 

If, in place of the period in the sentence 
quoted, there had been a semi-colon, an interro- 
gation point, or an exclamation point after " cry- 
baby," the double-quote should have been 
struck before the semi-colon, interrogation, or 
exclamation instead of after it. In other words, 
when only the last words of a sentence are 
xjuoted, the final quotation marks should pr^c^de 
a semi-colon, a colon, an interrogation-point, or 
an exclamation-point, — the /arge marks, that 
is,— but should /oZ/ow a comma or a period, 
both of which marks are so small that they 
look all right, even though they are really out of 

When the w/tole sentence is quoted, all quota- 
tion marks should invariably follow other punc- 
tuation marks. 

.Make a new paragraph — indented five spaces 
— whenever in conversation the speaker 
changes, or when in narrative the sense re- 
<}uires it. 

If one or more paragraphs are made in what 
-one speaker says without interruption, begin 
each paragraph with quotation marks, but do 
not put quotations marks at the end of para- 
graphs till the end of the last paragraph is 

When, in contractions, an apostrophe is made 
to take the place of an elided letter, it should be 
written exactly as if it were the letter of which 
it takes the place. 

A caret at the end of a paragraph and another 
caret at the beginning of the next paragraph 
means : ** Run in ; no ^'." A line drawn from 
the end of one paragraph to the beginning of 
the next paragraph means the same thing. 

In dialect l)e sure that the same word or 
phrase is always s|>elled in exactly the same 

If {Kissible, avoid having the top line on any 
page shorter than a full line. This is a book- 
printer's rule, which applies also to typewriting. 

Also avoid, if possible, beginning a paragraph 
on the bottom line of any page. 

If you strike a wrong key by mistake, always 
erase the printed letter and print the right letter 
in its place. Don't "Xout" mistakes. Use 
the eraser, and make your manuscript look 

In a sentence like : "John," she said, " I am 
yours forever," leave two spaces before and 
after the words, " she said," besides putting in 
the usual punctuation marks. 

Leave a space on each side of every dash. 
Strike two hyphens to make a dash. 

If, in a narrative, you are indenting each ordi- 
nary paragraph five spaces, a paragraph begin- 
ning with a quotation mark should be indented 
only four spaces. It makes the manuscript 
look more regular to have the quotation marks 
outside the paragraph at the beginning, so 
that to the reader's eye the first letters in the 
different paragraphs will line evenly down the 

Correct manifest errors in copy, unless you 
have been instructed to follow copy exactly. 
Use your intelligence, and try to make the 
manuscript as nearly perfect as you can. Do 
not, however, make radical changes without 
consultation with the author. 

It is generally best to use a colon, instead of 
a comma, to introduce a quoted sentence. 

Before " but " and ** and " at the beginning of 
a sentence, the strict rule is to use a semi-colon, 
and to begin the word ** but " or " and " with a 
small letter. Good writers, however, avoid 
beginning a sentence with these words. 

Study the rules ot punctuation, and follow 
them as scrupulously as you can. 

A /ways read over your copy carefully after it 
is completed, in comparison with the original. 

Put either a dash or "The End" in the 
centre of the line after the signature of every 

In typewriting poetry follow the main rule re- 
garding indentation, which is that all lines that 
rhyme with each.other must be indented equally. 
In observing this rule do not count quotation 
marks as letters. 

Always write poetry in the centre of the 
sheet, centring on the longest line. 

Do not enclose the finished manuscript vcn^ 


The Writer. 

covers, or attach the sheets together in any way. 
If the manuscript is short, put a blank sheet of 
paper like that on which it is written before the 
first page, to keep it clean. If the manuscript 
is long, cut two pieces of pasteboard to just the 
size of the paper, and put one on top and the 
other on the bottom of the manuscript, then 
fastening the whole together with a stout rubber 

Before rolling a manuscript always commit 
suicide. There is no objection to folding a 
manuscript, but a rolled manuscript is good 
only for waste paper, and not good for much for 

Estimate the number of words in a manu- 
script by counting the number of words in an 
average full line, and multiplying that number 

by the number of lines on a full page, and agaii> 
by the number of pages. Unless the matter is- 
very open, make no deduction for blank spaces 
at the end of paragraphs. ** The number of 
words in a manuscript ^' means to editors the 
number of words that would go in the space 
the manuscript will occupy when printed, in 
case they were set solid, — without any para- 
graphs, that is, — and so, in estimating, the blank 
spaces at the end of paragraphs in printed mat- 
ter are counted as if they were filled out with 
average words. For this reason, an exact 
count, 'one by one, of the words in any manu- 
script in which paragraphs are used will fait, 
short of the number of words as estimated in^ 
the ordinary way by any editor. 

Boston, Mass. William H, Hills. 


*' The true poet tO'day is God's prophet. 

If a sinner prove false to his trust, 
Make his mission a by-word and scoff it ; 

It is meet he should sink into dust. 
Who would wear the life crown of a poet 

Must breathe out a soul in his art — 
Stand above the rude throng, not below it ; 

And his song must be pure, like his heart." 

In these strong, true lines Alice Williams 
Brotherton reflects the predominant inspiration 
of her own muse, and voices the intensity with 
which all genuine poets feel that they have a 
message to deliver. She belongs, however, to 
a distinct class of poets — those who make the 
burden of their songs man's relation to God and 
to humanity. Her poems are the work of an 
artist, yet they are of direct religious or ethical 
significance. They are born in the throes of a 
responsibility to uplift men, by spurring them 
to effort in the nobler things pf life. This is 
dwelt upon because Mrs. Brotherton is one of 
the not too common poets who are able to make 
true poetry out of subjects akin to those chosen 
by David, and Solomon, and the Hebrew 
prophets. It is the kind of poetry which can be 

poetry only in an exalted spiritual atmosphere,, 
in which the mean, the commonplace, the un- 
poetic cannot exist. Mrs. Brotherton is not, 
however, a writer of devotional poems, but, 
rather, of those which reflect the ethical in 
every subject, and make of all ethics a religion. 
In these days, when so much is attributed to 
heredity, there is a pleasing propriety in tracing 
a poet's peculiar gifts to the circumstances of 
ancestry and environment. Mrs. Brotherton's 
poetic work seems to be the direct and logical 
result of hereditary causes. Of Quaker lineage 
in both her paternal and maternal lines, she was 
born among the Quakers, at the home of her 
grandfather. Dr. Nathan Johnson, at Cambridge 
City, Indiana. The section of Indiana to which 
Cambridge City belongs has been noticeably rich 
in men and women of literary and scholastic 
attainment. It is to-day the home of a circle of 
poets, who, if not of world-wide fame, have 
gained recognition beyond the borders of their 
state, and have helped greatly to create the lit- 
erary atmosphere for which Indiana is becom- 
ing known. Many of these writers have spent. 

The Writer. 


the morning of their days in the shadow of 
a "Friend's Meeting-house," and, perhaps, 
reached their truest inspiration through the 
subtle influence involved in the doctrine of re- 
ligious expression only as a movement of the 

Alfred Baldwin Williams, the father of Mrs. 
Brotherton, was the son of a Hicksite preacher, 
:and the grandson of a Quaker preacher of 
Welsh extraction. On her mother's side, Mrs. 
Brotherton is of mixed nationalities, in which 
the Celtic predominates. It is, perhaps, .to 
these Celtic strains that she owes her purely 
poetic endowments. Yet, more than all, and 
above all, are the heritage of Quaker ideas, and 
her American Quaker teaching, which glow in 
the spiritual coloring, and her love for humanity, 
that together give its high value to her poetic 

Mrs. Brotherton's earliest years were spent 
successively in Cincinnati, St. Louis, and on a 
farm near Cambridge City, Indiana. A little 
later Mr. Williams made Cincinnati the perma- 
nent home of his family. There Alice was edu- 
cated in the public schools. She was graduated 
from the Woodward High School in the spring 
of 1870, and at the same time began her literary 
<:areer with her first published poems, "Pic- 
tures in Ice," written for Commencement day, 
and " Moods," read shortly afterward at an 
alumni meeting. 

Among the other graduates that Commence- 
ment day was one to whom the attractions of 
his brilliant classmate, Alice Williams, had 
proved irresistible. He was able to win her 
iieart, and after he had completed a Harvard 
College course, their marriage took place, and 
she became Mrs. William Ernest Brotherton. 

United to a man whose sympathy and advice 
have, perhaps, more than all else, encouraged 
her in her literary work, Mrs. Brotherton has 
found in her marriage a happy destiny. Her 
life's sunshine has been clouded of recent years 
by her delicate health, and by one great sorrow, 
the loss of the eldest of her three beautiful 

Domestic in her tastes, and devoted to her 
family, Mrs. Brotherton passes most of her 
time in the seclusion of her pleasant home at 
Avondale, one of Cincinnati's charming sub- 

urbs. Her home is shared by her mother and 
her sister, the latter a well-known engraver. 

Mrs. Brotherton, in spite of her devotion to 
her home and her literary work, has found time 
for an active part in various kinds of public 
work. She. was president for two years of the 
Cincinnati Woman's Press Club, which, chiefly 
through her instrumentality, has become one of 
the largest and most influential organizations in 
the country. She has long been interested in 
the "woman question," her appreciation of the 
vital importance of which is voiced in her poem, 
" The Present Hour," written for and read be- 
fore the Ohio State Council of Women in 1888. 
In this she says : — 

*' Our work's to mould a nobler womanhood 
Out of the faulty clay that lies at hand ; 
To preach the ' gospel of the golden rule * 
In home and school, society and state ; 
Wage righteous war with ignorance and wrong." 

Lastly, in her public work it is not strange that 
as a champion of all woman's efforts for ad- 
vancement she should be an enthusiastic mem- 
ber of what, in the abstract, seems destined to 
mark an epoch of the century, a woman's liter- 
ary club. She was one of the founders, and 
has been for several years the president, of Les 
Voyageurs^ a literary and study club of Avon- 

Mrs. Brotherton came of a family of readers, 
and her environments have always been most 
favorable for the development of her poetic 
talents. From her infancy she has browsed 
among good books, and has found in them 
much of the intellectual food and stimulus 
which her nature as a poet of the inward, rather 
than the outward, perceptions demanded. 

She has been fortunate in having from the 
beginning of her poetic work for her guidance 
in purely artistic lines, what is inestimable in 
value to a young poet, an exacting critic at her 
elbow. This critic is her mother, to whom she 
gladly acknowledges the greatest indebtedness 
for much of the success of her work. 

As I have said, Mrs. Brotherton did not 
appear in print in her extreme youth. This 
prudent waiting for ripeness led no doubt to 
the almost immediate recognition she received, 
when she fairly began her literary career in 
1 87 1. From that time her work has found 
ready acceptance from the /iwfe^^noCent^ ^^nr. 



Christian Standard^ Unity ^ the Atlantic^ the 
Century^ Scribner^s^ St. Nicholas^ and many 
other periodicals of a like high character. 

Her first appearance as an author was in a 
little pamphlet containing a poem called " Be- 
yond the Veil," published in 1886, by Charles 
H. Kerr & Co., of Chicago. Her first volume 
of poems, " The Sailing of King Olaf, and Other 
Poems," was published by the same firm, in 1887. 

Mrs. Brotherton, like most poets, carries her 
individuality into her times and ways of work. 
She does not saturate her brain and poetic 
thoughts with midnight oil, but finds her truest 
inspiration in daylight at its best, from eight to 
twelve in the morning. Much of her best work 
has been done with her babies about her, sit- 
ting in her lap or clinging to her gown. She 
writes in the way common to women, on her lap, 
supporting her paper on a walnut board made 
especially for her, and fitted with convenient 
attachments. She completes her work, whether 
poem or prose article, if possible at one sitting. 
She seldom rewrites or revises to any material 
extent. Her poems are thus, in strictest truth, 
the spontaneous outpourings of a heart imbued 
with deeply religious feeling, having in a spirit- 
ual way a lesson to teach. 

In poems like these there is often of neces- 
sity a certain sternness in the motive, yet no 
harsh note or bitterness mars the poetic beauty 
of Mrs. Brotherton's work. The most directly 
and positively didactic of her poems breathe 
the subtle artistic quality which imbues the 
reader with the emotions of the poet. Surely 
few persons have read without a certain self- 
conviction the tender, solemn, searching lines 
called " Magdalen." The poem is a sermon on 
a text taken from the burial service, "We com- 
mit to the ground the body of this our deceased 

" This our sister ! Surely you are mocking. 
Why, this self-same form I've seen before, 
Through the streets of yonder city walking. 
Pitilessly spurned from door to door. 

• • • • • • • 

" Had she been our sister, — tempted, sinning, — 
We had hastened to uplift and save ; 
Had deemed time and pains well spent in winning 
Back our sister from a living grave." 

The delicate, though impressive, handling of 
the painful subject, and its power of awakening 

love and pity, the divine sympathy of a Chri& 
tian, make this little poem sublime. 

Much of the effect of Mrs. Brotherton's work, 
is due to her use of a clear and simple diction.. 
It is a diction peculiarly adapted to the narra 
tive form of poetry, and to the legendary sub- 
jects which she has found so attractive. I n her 
treatment of these subjects, she has a pictu- 
resque, firm touch, suggesting much more thaa 
is told, yet apparently without making any- 
strong appeal to the reader's imagination. 

She chooses legends as picturesque material^ 
but it is always the spirit of the story which has- 
for her a specially poetic attraction, and this 
she interprets through fitting verse-forms and 
language. "The Sailing of King Olaf/' the 
first poem in her volume, has the swift, terse 
movement of a heroic contest, and is appropri- 
ate at the same time to the exultant triumph o£ 
religious faith, which is the lesson taught. The 
poem is a long one, and an extract would not 
do it justice; a few lines, however, will show 
the general treatment of the subject. Harald; 
Haardrade and his brother Olaf agreed that 


Who first shall win to our native land. 

He shall be king of old Norroway." 

But Harald stipulates that they shall exchange 
vessels, as Olaf's is the swifter. His brother 
consents, believing that, by the blessing of God,, 
he will win the race. He delays to offer prayer 
in the church, while Harald, the wind in his. 
favor, sails away. Olaf, in his heavier, clumsier 
vessel, follows, and reaches the Norse land three 
days ahead of his brother : — 

" Such was the sailing of Olaf the king. 

Monarch and saint of Norroway *, 
In view of whose wondrous prospering 

The Norse have a saying unto this day : 
' As Harald Haardrade found to his cost. 

Time spent in praying is never lost J* *' 

Another poem not included in the volume,. 
" The Ballad of Little Christin," is a good illus- 
tration of excellent adaption of the ballad form 
to an old tradition. As an almost purely aes-^ 
thetic poem, it would place its author among 
the pre-Raphaelites. Little Christin weeps on 
her wedding day because she fears she will 
share the fate of her sisters, whom a "grim* 
sprite " in Ringfallow's flood "stole away," 

" Each on her wedding day.^' 

Her lover has her palfrey shod " with golden> 

The Writer. 


shoon " to frighten the elves away, and a train 
of twelve men ride by her side. But "a snow- 
white stag with a golden horn " lures the train 
away, and 

" Ere they reached the central arch 
That spans Ringfallow's wave, 
The palfrey tripped, the maiden fell 
Or ever a hand could save ! 

" Down, down into the Kelpies' hall 
She sank five fathoms clear. 
Loud laughed the sprite, ' O little Christin, 
Indeed you are welcome here ! * " 

But with "gold harp in his hand," her lover, 

" Sir Peter knelt upon the strand. 
And touched one golden string ; 
The water-sprite beneath the flood 

Turned pale with listening. 

• •••••• 

" Sir Peter prayed a hearty prayer. 
And struck the chords with might ; 
And Christin's arm above the flood 
Rose up all round and white ! " 

And so she was rescued by " music's magic 
power," and by prayer. 

Mrs. Brotherton's more strictly narrative 
poems are as distinct and vivid in impression 
as a bit of highly-colored tapestry, covered with 
well-executed scenes from life. ** Dorothy Ver- 
non's Flight " reminds one of *' St. Agnes' Eve," 
not wholly from a slight similarity of subject, 
but as much from what may perhaps be called 
a classical effect of permanence which attaches 
itself to the maiden carried off by " the sturdy 
knight" in ** the white moonlight," while 

" The mad merry measure of the music 
Sounded on, and the revel gaily sped. 
Or ever grim George and his lady 
Had learned that their prisoner had fled." 

In her treatment of nature, Mrs. Brotherton 
is delicately suggestive of moods and memories, 
rather than of a love of nature for its own sake. 
Her " Rose Songs," included in the published 
volume, are love songs full of the exultant, pas- 
sionate feeling expressed by the " Dying Rose " 
deserted by the Nightingale whose songs she 
has inspired : — 

" What were the gifts of a thousand lovers 
Tu that one perfect song of thine. 

" I dare not weep, though I fade forever; 
More from a century none could win. 
This is my joy, that never, oh never. 
Save for me, love, thy song had been ! " 

The same gift in using language vividly, pro- nkw Albany, Ind. 

ducing clear-cut impressions with a few strokes 
of the pencil, is exhibited in Mrs. Brotherton's 
vers de sociiti and in her dialect poems. Her 
seeming versatility, however, is a versatility of 
subject and verse form, rather than of sentiment 
or general treatment. Earnestness of feeling 
underlies the lightest of her poems. And the 
same element gives exceptional force and nobil- 
ity to her poems of the inner life ; and it is when 
she is " on the heights " that she is at her best. 
Her treatment of a most suggestive subject, 
"The Wife of Pygmalion," is an example of 
poetic sublimity reached through intensity of 
expression. The beautiful statue, given life 
of the body only, longs at any cost for a soul : — 

" Oh, pray for me, that I may know 

All shades of human suffering. 
The very height and depth of woe, — 

If so the grief and pain might bring 
Into this periect form of mine 
At last — the Soul divine." 

If poetry were a matter of the imagination 
only, Mrs. Brotherton might be ranked lower 
than many a poet or verse writer of less merit. 
If poetry were music only, — honeyed notes of 
limpid sweetness, — she would find many an 
unknown singer more than her peer. If poetry 
were nature's mirror only, she would fall be- 
hind in a race with many a contributor to the 
poet's corner of a country newspaper. If poetry 
were artistic verse-making only, mere verse- 
makers in great numbers would stand by her 
side. It is because poetry, whatever else it 
may be, is "the living thoughts of living men," 
made intense and expressive through poetic 
forms of speech, that she is lifted into the ranks 
of true poets, though she ever harbors what in 
many hands becomes death to spontaneous 
song — the consciously didactic. 

As a writer of prose, Mrs. Brotherton has 
done much good work in reviews and criticisms 
and in stories for children. "What the Wind 
Told to the Tree Tops," a volume of children's 
stories, published several years ago, received 
much merited praise. Her most natural mode 
of expression, however, is poetry, and she is 
ever a true and helpful poet, and one whose 
work has added to the riches of American lit- 

Mary E. Cardwill. 


The Writer. 

The Writer. 

Published monthly by The Writer Publishing Company, 282 
Washington street, Rooms q and 10, Boston, Mass. 

WILLIAM H. HILLS. . . . Editor. 

%* The Writer is published the first day of every month. 
It will be sent, post-paid, One Year for One Dollar. 

%* All drafts and money orders should be made payable to 
The Writer Publishing Co. Stamps, or local checks, should 
not be sent in payment for subscriptions. 

•** The Writer will be sent only to those who have paid for 
it in advance. Accounts cannot be opened for subscriptions, 
and names will not be entered on the list unless the subscription 
order is accompanied by a remittance. When subscriptions ex- 
pire the names of subscribers will be taken off the list unless an 
order for renewal, accompanied by remittance, is received. Due 
notice will be given to every subscriber of the expiration of his 

%*- No sample copies of The Writer will be sent free. 

•,*The American News Company, of New York, and the 
New England News Company, of Boston, and their branches, 
are wholesale agents for The Writer. It may be ordered 
from any newsdealer, or direct, by mail, from the publisher. 

%* Everything that may be printed in the magazine will be 
written expressly for it. 

*«* Not one line of paid advertisement will be printed in The 
Writer outside of the advertising pages. 

%* Advertising rates will be sent on request. 

*«* Contributions not used will be returned, if a stamped and 
addressed envelope is enclosed. 


282 Washington street ( Rooms 9 and 10 ), 

P. O. Box 1905. Boston, Mass. 

Vol. VII.^ 

June, 1894. 

No. 6. 

Short, practical articles on topics connected 
with literary work are always wanted for The 
Writer. Readers of the magazine are invited 
to join in making it a medium of mutual help, 
and to contribute to it any ideas that may occur 
to them. The pages of The Writer are 
always open for any one who has anything help- 
ful and practical to say. Articles should be 
closely condensed; the ideal length is about 
1,000 words. 

People who are interested in "the art of 
advertising" — as some people call it nowadays 
— have heard occasional complaints that new 
books are less skilfully advertised than any 
other wares offered by advertisers to the read- 
-"5^ public. Book advertisements, these cap- 

tious critics have been heard to say, are too 
conventional, too formal, written and displayed 
with anything but good judgment, ineffective, 
and generally bad. Whether all this be true or 
not, it is not necessary to consider here. One 
publishing firm, however, has recently taken a 
long step away from the conventional and 
commonplace, as the following paid ** reading- 
notice," recently published in the JVew York 
Evening Post^ — with the names of books, 
publishers, and authors, here supplied by 
dashes, all printed out in full, — will show: — 
answers to fashion correspondents. 

MAUD — There is no objection to Brussels net, if you 
prefer it, but plain black grenadine goes well with the bright 
maroon and silver of "— — — — ,"' as that amusing novel lies 
on your lap ready for the evening reading. . . . CON- 
STANCE — A white and black gown — white silk with raised 
pin-dots of black — is charming for summer silks and for cr^ 
pons. Thb is finely effective in contrast with the slate-colored 

cloth binding of " ," *s delightful new 

novel, just published by , , & Co. . . . TOTTIE 

— Fortunately, your brown brilliantine is in good style again, 
along with mohair and alpaca. Make it with a short pleated 
basque, opening on a blue or black vest, cut on the bias. It 

will match capitally with the sage-green binding of 

— — 's " -^^ ,'* as you stand with the book by the 

mantelpiece at afternoon tea. I'll go off and get one, too, at 

's. . . . FLORENCE — The circular skirts of 

last year are still worn and some new ones are made. Reeds 
are not worn in the bottom of skirts. But on your lap you will 

find strikingly effective the delicate cloth tint of " ," 

by ; and the stories, by the way, you will find 

delightful reading. ETHEL — Have mutton-leg 

sleeves to your China-silk waist. A drawn puff of the same 
silk would be a neat trimming. But, Ethel, dear, you never 

saw such a pretty shade of blue as I noticed at , — '■ 

to-day, in the binding of 's last novel, *' — ." 

You should buy the book, if even for a bit of furniture. — ^</v/. 

This advertisement — sandwiched in be- 
tween a eulogy of somebody's liver pills and a 
few remarks about somebody else's asbestos 
boiler and pipe coverings — is unconventional 
enough, as everybody must admit. If the pub- 
lishers continue advertising in the same way, 
the fact will make it evident, perhaps, that this 
sort of advertising pays. w. h. h. 


Why will so many writers persist in using 
the ungrammatical singular " we " .'^ The 
fashion is an antiquated one, which has come 
down to us from our forefathers, and which is 
wholly " out of date " to-day. The " I " is used 
by all the best writers of the present time. 

The chief objection to be urged against the 

The Writer. 


^use of " we " is that it often renders a writer's 
meaning ambiguous or obscure. A sentence 

^f Charles Dudley Warner's in the current 
number of Harper's Monthly illustrates what 
I mean. It reads: "This is what we mean by 
saying that we are trying to make our educa- 

^tional pyramid stand on its apex." Similarly, 
an author, writing of her experiences at the 
World's fair last summer, said: "We had a 
good time." The reader was left to conjecture 
whether the "we" referred to herself or to the 
whole party which she accompanied. 

Numerous other instances might be cited, 
but these two suffice to illustrate my point. 
The effect of the " we" is not so much to make 
the sentence ambiguous, as to make it obscure. 
Obscurity, however, is a fault almost as ob- 
jectionable as ambiguity. 

The "we" is allowable sometimes in the 
editorial columns of newspapers, because the 
opinions which emanate therefrom are not 
essentially singular. They may be shaded, 

•or entirely governed, by the political or busi- 
ness policy of the paper. The best news- 
papers, however, avoid the use of "we" 

There is no good excuse for using the vague 
"we" over one's own signature, or in a depart- 
ment where individual opinions are expressed. 
The AVa/ York Herald reporters even are 
instructed to use "I," although their reports 
have no signature. 

Some writers imagine that the " I " smacks 

• of /^^, but that is nonsense. When the "we" 
is used for the first person singular it repre- 
sents nothing more or less than the "I." Why 
should one assume to give his opinion the 
dignity of a plurality of wise-heads, when they 

-are naught but the product of his own little 

i brain ? 

A, W. Dennis. 

Lynn, Mass. 


[ Questions relating to literary work or literary topics will be 
•answered in this department. Questions must be brief, and 
•of general interest. Questions on general topics should be 
•directed elsewhere.] 

Some time ago The Writer published a list 
«of books useful to writers. Will the editor 

kindly reprint the list, with such additions as 
may be suggested now ? T. m. s. 

[ The editor of The Writer recommends 
the following books, as many as possible of 
which should be in every writer's library : — 

Writing for thb Press- A Manual for Editors, Reporters, 
Correspondents, and Printers. By Robert Luce. Fourth 
edition, revised and enlarged. 96 pp. Cloth, $1.00. 

Stbps Into Journalism: Helps and Hints for Young 
Writers. By Edwin L. Shuman. 229 pp. Cloth, $1.25. 

The Ladder of Journalism. By T. Campbell-Copeland. 
115 pp. Paper, 50 cents. 

The Trade of Authorship. By Wolstan Dixey. 128 pp. 
Cloth, $1.00. 

The Art of Authorship. Compiled by George Bainton. 
355 PP' Cloth, $1.25. 

Information for Authors. By Eleanor Kirk. 118 pp* 
Cloth, $1.00. 

Periodicals That Pay Contributors. By Eleanor Kirk. 
57 pp. Cloth, $1.00. 

The Rhymester ; or. The Rules of Rhyme. A guide to 
English versification, with a dictionary of rhymes. By Tom 
Hood ; edited, with additions, by Arthur Penn. 208 pp. 
Cloth, $1.00. 

Walker's Rhyming Dictionary. 720 pp. Cloth, $1.50. 

The Science of English Verse. By Sidney Lanier. 3 15 pp. 
Cloth, $2.00. 

A Handbook of Poetics. By Professor F. B. Gummere. 
250 pp. Cloth, $1.10. 

Roget's Thesaurus of English Words and Phrases. 
745 pp. Cloth, $2.00. 

ENGLfSH Synonyms Explained in Alphabetical Order. 
By George Crabb. 638 pp. Cloth, $1.00. 

Practical Synonyms. By John H. Bechtel. 226 pp. Cloth, 
50 cents. 

The Principles of Rhetoric and Their Application. 
With an appendix com -^rising general rules for punctuation. 
By Adams Sherman Hill. pp. Cloth, 88 cents. 

The Foundations of Rhetoric. By Adams Sherman Hill. 
371 pp. Cloth, $1.00. 

The Practical Elements of 
Genung. 483 pp. Cloth, $1.40. 

A Handbook of Rhetorical 
Genung. 306 pp. Cloth, $1.25. 

Outlines of Rhetoric. By John 
Cloth, ;$ 

A Practical Course 
Alphonso G. Newcomer. 

How to Write Clearly. 
Cloth, 60 cents. 

A Treatise on English Punctuation. By John Wilson, 
pp. Cloth, 1^1.25. 

Punctuation and Other Typograhpical Matters. By 
M. T. Bigelow. pp. Cloth, 50 cents. 

Pens and Types. By Benjamin Drew. 214pp. Cloth, $1.00. 

The Art of Fiction. Walter Besant and Henry Jamfts. 
(Two essays in one volume.) 85 pp. Cloth, 75 cents. 

The Art of Playwriting. A practical treatise on the ele- 
ments of dramatic construction. By Alfred Hennequin. 
187 pp. Cloth, $1.25. 

The Technique of the Drama. By W. T. Price. 287 pp. 
Cloth, ^1.50. 

Mistakes in Writing English, and How to Avoid Them. 
By M. T. Bigelow. Second edition, no pp. Cloth, 50 cents. 

Handbook of Blunders. Designed to prevent 1,000 common 
blunders in writing and speaking. By H. H. Ballard, 
pp. Cloth, 50 cents. 

Slips of Tongue and Pen. By J. H. Long. loi pp. 
Cloth, 60 cents. 

Errors in the Use of English. By Professor William B. 
Hodgson. pp. Cloth, $u 50. 

The Verbalist. B^ ^^ix^^ Mx«s». v^. ^::x.^'^A^.^»« 

By John F. 
By John F. 
F. Genung. 331 pp. 


IN English Composition. By 
249 pp. Cloth, 90 cents. 

By Rev. Edwin A. Abbott. 78 pp. 


The writer. 

Practical Typewriting. By Bates Torrey. 156 pp. 
Cloth, $1.00. 

Thb Printer's Art. By Alexander A. Stewart. 113 pp. 
Paper, $1.00. 

Any of these books will be sent by The 
Writer Publishing Co., postpaid, to any address, 
on receipt of price. — w. h. h. ] 


[ Brief, pointed, practical paragraphs discussing the use and 
misuse of words and phrases will be printed in this department. 
All readers of Thb Writer are invited to contribute to it. 
Contributions are limited to 400 words ; the briefer they are, the 

<* Obliged to Have Asked " and *' Norn de 
Plume." — The Boston Herald says that if 
something or other had happened, Marion 
Crawford "would not have felt obliged to have 
asked a Smith College girl for permission to 
use her nom de plume for the title of his latest 
novel." Mr. Crawford did not feel obliged " to 
have asked" for permission. And the Smith 
College girl used " Katherine Lauderdale," not 
as a " nom de plume^'' but as a " nom deguerre^ 

Winchester, Mass. R» 


Dictionary of Quotations from Ancient and Modern Eng- 
lish and Foreign Sources. Including phrases, mottoes, max- 
ims, Droverbs, definitions, aphorisms, and sayings of wise 
men, in their bearing on life, literature, speculation, science, 
art, religion, and morals, especially in the modem aspects of 
them. Selected and compiled by Rev. James Wood. 668 
pp. Cloth, $2.50. New York : Frederick Warne & Co. 

Familiar Quotations. A collection of passages, phrases, 
and proverbs, traced to their sources in ancient and modem 
literature. By John Bartlett. Ninth edition. 1,158 pp. 
Cloth, $3.00. Boston: Little, Brown, & Co. 1893. 

The use of a dictionary of quotations is two- 
fold, — first, to furnish apt illustrations by pro- 
viding a maxim or an epigram reinforcing an 
idea, and, second, to give with exactness and 
reference to its source a maxim or an epigram 
the recollection of which is incomplete. The 
merits of such a book, therefore, are complete- 
ness in including a great number of maxims on 
a great variety of subjects, exactness in giving 
the quotations, and thoroughness in tracing 
each, so far as may be possible, back to its 
source. For most people, the second of the 
two uses of the book is most important. There 
are not many persons who sit down with malice 
aforethought to read a dictionary of quotations 
for the purpose of finding phrases to embellish 
their writing or their speech. The chief use of 
the book is that made of it when a writer wants 
to quote exactly a quotation which he only half 

remembers, or wants to trace a familiar andi 
well-remembered quotation to its source. The 
arrangement and indexing of such a book, there- - 
fore, are of the first importance. Next comes, 
the question of completeness, next that of ex- 
actness in quotation and in reference, and* 
finally that of good judgment in selecting the 
quotations included in the work. 

Of the two dictionaries mentioned at the be- 
ginning of this review, Bartlett's has long been • 
a standard American work, the first edition hav- 
ing been published in 1855, and the ninth and 
culminating edition having been copyrighted in 
1 891. Each new edition of the book has been- 
materially enlarged, the ninth edition, for in- 
stance, being larger than the eighth by 350* 
pages of text and 10,000 lines of index.. 
Wood's dictionary, on the other hand, is a new 
book, begun, the author says, three years ago, 
and only recently published in England and 
America. It is only natural, then, that its- 
merits should be judged by comparison with 
the work to which Americans have looked for 
nearly forty years as the standard of its kind. ■ 

The plan of Mr. Wood's book includes an 
alphabetical list of quotations, arranged accord- 
ing to the first letter of the first word, and fol- 
lowed by a topical index, which, though copi- 
ous, includes no mottoes and few proverbs,, 
indexes quotations by ideas rather than by key- 
words, and is intended only to refer to subjects 
of which there is anything of significance said.- 
The index, too, is limited to subjects that are 
not mentioned in alphabetical order in the body 
of the book. Thus, Mr. Wood says, there was- 
no need to index what is said on certain pages - 
about "Art," "Beauty," or "Christianity," as 
the reader will expect to find something con- 
cerning them where they occur in the order 

In Bartlett's dictionary there comes first an 
alphabetical index of authors, with the pages of 
the dictionary on which quotations from each 
are to be found. This is followed by a list of 
anonymous books cited. Then come the quo- 
tations, all those from one author being put to- 
gether under his name, and the date of his birth 
and death being given in each case. The order- 
of arrangement is chronological, the list begin- 
ning with Chaucer, and ending with Grover 
Cleveland, Bret Harte, and Francis W. Bour- 
dillon. Following these come miscellaneous ■ 
quotations, translations, quotations from the 
Bible, and an appendix explaining the orig^in of 
many familiar phrases. Last of all is an ex- 
haustive index by key-words to all the quota- 
tions in the book. 

The advantages of Bartlett's plan of arrange- 
ment are manifest at a glance. Assume, for 
instance, that a writer wishes to use the quota- 
tion comparing the power of the songs of a. 
nation and the power of its laws, which he may;* 

The Writer. 


remember, possibly — as, in fact, it was quoted in 
a recent national song prize offer, made by the 
editor of the Dominant — in this form : " 1 care 
not who makes the nation's laws, if I might 
write its ballads." Taking Wood's dictionary, 
the searcher naturally looks first under " I care 
not," and finds out at once that if the quotation 
is in the book his memory of it is inexact. He 
next tries the index, deciding that the main 
key-words of the sentence are "ballads," 
"nation," and "laws." Under the headings 
"laws" and "nation" he finds nothing to his 
purpose. Under the headine "ballads," how- 
ever, he finds the entry, " Ballads more power- 
ful than laws, 241, 33," and, turning to page 
241, he finds the thirty-third of the forty-nine 
quotations on the page — every fifth quotation 
being numbered by a figure in the margin — 
noted thus : — 

Let me make the ballads of a people, and I care not who 
makes the laws. Quoted by FUiciur of Salioun. 

Now let the searcher take up Bartlett's dic- 
tionary, assuming that he knows no more about 
the quotation than he did when he started out 
to find exactly what it is. He has the key- 
words " ballads," " nation," and " laws." Under 
" laws " he finds the entry, " Laws of a nation, 
281 " : under " nation " he finds the entry, 
" Nation, ballads of a, 281 "; under "ballads " 
he finds "Ballads of a nation, 281." All these 
references send him to page 281, where he finds 
the following : — 


I knew a very wise man that believed that if a man were per- 
mitted to make all the ballads, he need not care who should 
make the laws of a nation.— Z^^//^r to the Marquis of Montrose ^ 
the Earl of Rothes, etc. 

It appears from this that, if the searcher's 
memory of the quotation had been that it spoke 
of " songs," instead of " ballads," he would 
have failed to find it in Wood's dictionary, since 
the only key to the phrase in Wood's index is 
under the word "ballads." In the same case, 
on the other hand, he would have found the 
quotation all right in Bartlett's dictionary, for, 
although he would have discovered no mention 
of it in the index under " songs," he would have 
found the necessary reference in two other 
places, under "nation" and under "laws." 
Moreover, having traced the quotation in 
Wood's dictionary, he finds that it is given in- 
exactly; in Bartlett's dictionary, on the other 
hand, he gets not only Fletcher's exact phrase, 
but the dates of Fletcher's life. 

Throughout, Bartlett's dictionary has the ad- 
vantage in the exactness with which quotations 
and references are given. Rev. Mr. Woods 
says in his preface: "Except in the case of 
quotations from Shakespeare, the editor has 
quoted only the names of the authors or the 
books from which they are taken, or has not. 

as might be expected of him, supplied either 
chapter or verse, because he did not think it 
worth the labor and expense that would have 
been involved." It may be doubted whether 
those who use the book will agree with Mr^ 
Wood in this. Not only is it desirable to trace 
a quotation to its source, and make certain o£ 
its exact form, but it is often important to know 
the context in which the quotation originally 
appeared. Bartlett always gives exact refer- 
ences, as, for example : " Canterbury Tales. 
Troilus and Creseide. Book III. Line 1721."" 
His quotations, too, are generally more exact 
than those of Mr. Wood. 

The greatest usefulness of Wood's dictionary 
comes from the fact that it has a broader plan, 
than Bartlett's, including quotations, in the 
original, from Latin, Greek, French, German, 
Italian, and other languages, as well as English.. 
"Gnothi seauton," for example, is given in 
Greek, while in Bartlett only the translation, 
" Know thyself," is indexed. In Bartlett, how- 
ever, the use of the idea by Pope and Cervantes 
is quoted, while under the passage from Plu- 
tarch's " Consolation to ApoUonius" containing 
it is a foot-note saying: "Plutarch ascribes 
this saying to Plato. It is also ascribed to 
Pythagoras, Chilo, Thales, Cleobulus, Bias, and 
Socrates; also to Phemone, a mythical Greek 
poetess of the ante-Homeric period. Juvenal 
( Satire xi, 27 ) says that this precept descended 
from heaven." Bartlett, in short, gives more 
information about the phrase, but Wood gives 
the original Greek, which Bartlett does not. 
In the same way, Wood's dictionary includes 
the French, ".^/r^j bien qui rira le dernier ^^' 
( " He laughs best who laughs last " ), while Bart- 
lett does not mention even the English saying, 
his nearest approach to it being Othello's 
"They laugh that win," — which Wood also- 

As Rev. Mr. Wood is an Englishman, it is, 
perhaps, not strange that his dictionary makes- 
no mention of the familiar, "First in war, first 
in peace, and first in the hearts of his country- 
men." Bartlett, on the other hand, quotes the 
phrase from the memoirs of Colonel Henry 
Lee (1756-1816), as it was spoken in Lee's 
eulogy of Washington, December 26, 1799, and 
in a foot-note gives further information regard- 
ing the quotation and its origin. 

As a final example of the way in which Mr. 
Wood's index works, may be cited his treatment 
of the phrase which ought to be engraved deep in 
every writer's memory : " Easy writing's curst 
hard reading." In Wood's dictionary the index 
entry is : — 

Writing, advantage of, 369, 9 ; art of, secret of, 53, q ; bene- 
fit to few, 469, 6 ; clear, condition of, 554, 30 ; condition of,. 
305, 23; ease in, how acquired, 449, 45; easy. Sheridan on^ 
568, 6 ; etc. 

The searcher for the epi^ra.rc^'^Vv'CiV'i&sgi^.'s*^ 


The Writer. 

far as this then turns to page 568, and the sixth 
-quotation on that page he finds to be : — 

You write with ease to show your breeding, 
But easy writing's cursed hard reading. 

— Sheridan. 

It will be noticed that "curst" is misquoted 
" cursed." On page 76, however, in the proper 
alphabetical place under " Easy," the quotation, 
" Easy writing's curst hard reading. — Sheri- 
dan^''^ is correctly given. Bartlett quotes the 
couplet, and credits it as follows : " Clio's Pro- 
test. Life of Sheridan (Moore). Vol. I., 

p. 155." 

The conclusion is that the writer who is try- 
ing to decide which of these two dictionaries he 
would better buy should buy both. If he cannot 
afford that, he will probably find Bartlett's the 
more generally useful of the two, since it is 
more nearly complete, more exact, more thor- 
ough, better planned, and better arranged. 
Wood's dictionary supplements Bartlett*s, how- 
ever, in a most useful way, particularly because 
it gives so many quotations in foreign lan- 
guages. With both books in his library, there 
will be very few desired quotations that the 
owner of the dictionaries will try in vain to find. 

w. H. H. 

In Varying Moods. By Beatrice Harraden. American copy- 
right edition. a86 pp. Cloth, $1.00. New York: G. P. 
Putnam's Sons. 1894. 

The success of "Ships That Pass in the 
Night" is naturally followed by the publication 
of another volume of Miss Harraden's work. 
*' In Varying Moods " is a collection of strong 
and interestmg short stories, of which the long- 
est, " At the Green Dragon," fills about a hun- 
dred pages. The author's brief preface, signed 
with a fac-simile of her autograph, tells us that 
the story " was written in Mentone, amongst 
the olive trees," and that, as she now writes, the 
landlady of the Green Dragon sends her a box 
of daffodils and asks if she has yet invented a 
tale about her favorite inn. In the preface are 
given also hints of the origin of " The Painter 
and His Picture," "The Umbrella Mender," 
and "The Clockmaker and His Wife," other 
stories in the book. Most of the tales. Miss 
Harraden says, have in them more of truth than 
fiction. It is interesting to notice that this book 
is copyrighted in America. " Ships That Pass 
in the Night " was not protected by American 
copyright, and there were many unauthorized 
editions of it. w. h. h. 

Photographic Mosaics. An annual record of photographic 
progress. Edited by Edward L. Wilson. Thirtieth year. 
295 pp. Cloth, $1.00. New York : Edward L. Wilson. 

Any one who is fortunate enough to have a 
complete set of the annual volumes of " Photo- 
graphic Mosaics " from the beginning has a 
•^complete record of progress in photography 

during the last thirty years. The little books 
are invaluable to all who are interested in the 
photographic art. The 1894 volume, for in- 
stance, begins with an historical record of 
photographic discoveries and inventions during 
1893, touching on such subjects — among 
scores of others — as " Photographing the 
Vowel Sounds," "Photography Without 
Light," " Flexible Glass," " The Field-glass 
Camera," " Tele-photographic Lenses," " Hand- 
camera Work," " Photography by Artificial 
Light," "Watch Dial Portraits,'^ etc., etc. 
Following this are papers by experts on various 
subjects connected with photography, interest- 
ing to amateurs and professionals alike. A 
lavishly illustrated article on " Brittany : Illus- 
trated oy Hand-camera and Lantern," and " The 
Last Venture of the Photographer," a story by 
Alphonse Daudet, are features of the book, 
which has besides many fine half-tone pictures. 
Altogether, "Photographic Mosaics " for 1894 
is a very interesting and useful little book — 
something that every one who is interested in 
photographic work should have. w. h. h. 

Sir Francis Bacon's Cipher Story. Discovered and de- 
ciphered by Orville W. Owen, M. D. Vol. II. aoo pp. 
Paper. Detroit : Howard Publishing Co. 1894. 

The frontispiece of Dr. Owen's second vol- 
ume of his " cipher story " is a picture of the 
"wheel," improvised for ready reference, used 
by him in deciphering what he assures the 
world is Bacon's cryptogram. When Dr. Owen 
goes farther and explains the system on which 
his work is done, the results of it may be 
worthy of serious attention. Until then it is 
not worthy of consideration. w. h. h. 


[ All books sent to the editor of Thb Writer will be ac- 
knowledged under this heading. They will receive such farther 
notice as may be warranted by their importance to readers of 
he magazine.] 

Sebastian. A dramatic poem. 93 pp. Cloth. BufiEalo: 
Charles Wells Moulton. 1894. 

They Met in Heaven. By George H, Hepworth. 209 pp. 
Cloth, 75 cents. New York : E. P. Dutton & Co. 1894. 


To Read Curled Manuscripts Easily. — 
When one is trying td copy a manuscript which 
has been rolled, a satisfactory method of hold- 
ing the objectionable matter under control is 
simply to lay a pane of glass over the opened 
sheet. When the paper is held thus there will 
be no trouble in reading all that is written on 
the page ; and copyists will be saved the bother 

The Writer. 


of giving frequent attention, otherwise neces- 
sary, to weight the curling sheet. 

C S. Wady. 


Typewriter Backing Sheet. — Now that so 
many literary people are using the typewriter 
for making manuscript, some of them may 
like to know of a trick for saving the bother 
of rolling in a backing sheet with each written 
page, which I saw described some time ago 
in the Phonographic World, Here are the 
directions : Dampen a strong sheet of linen 
paper as evenly as possible, either with a sponge 
or by drawing it through water and then 
placing it between blotting pads to remove the 
surplus water; then roll the sheet round the 
platen while it is moist, fastening the last end 
with mucilage. When the sheet is dry it will 
be found to adhere very tightly and smoothly to 
the platen. When the paper becomes worn it 
can be readily removed with the penknife, as 
the mucilage does not touch the platen. To do 
this will take but a few minutes, and the sheet 
will last for several weeks, not only saving much 
time and effort, but also preserving the platen. 

CiNaNNATI, O. -A.. L. S. 


[The publisher of The Writer will send to any address a 
copy of any magazine mentioned in the following reference list 
on receipt of the amount given in parenthesis following the name 
— the amount being in each case the price of the periodical, 
with three cents postage added. Unless a price is given, the 
periodical must be ordered from the publication office. Readers 
who send to the publishers of the periodicals indexed for copies 
containing the articles mentioned in the list will confer a favor 
if they will mention The Writer when they write.] 

Fashion and Intellect. W. H. Mallock. North Ameri' 
can Review ( 53 c. ) for June. 

Four Clever Illustrators ( Charles Dana Gibson, by 
Alice Graham McCoilin ; Albert B. Wenzell, by Mrs. Hamil- 
ton Mott; Reginald B. Birch, by Florence Wilson; Frank 
Otis Small, by Dorothy Chase). With portraits. Ladies^ 
Home Journal (13 c.) for June. 

My Literary Passions. William Dean Howelis. Ladies^ 
Nome Journal { 13 c. ) for June. 

My First Literary Acquaintances. R. H. Stoddard. 
Lippineott^s Magazine ( 28 c. ) for June. 

Some Masks and Faces of Literature. Walter Black- 
bum Harte. Worthington^ s Magazine ( 28 c. ) for June. 

How News Is Gathered. Illustrated. Arthur Field. 
Demcresfs Family Magazine ( 23 c. ) for June. 

The Passing of the Essay. Agnes Repplier. Lippinr 
cotfs Magazine ( a8 c. ) for June. 

Some Letters and Conversations of Thomas Car> 
lyle. Sir EUiward Strachey. Atlantic Monthly (38 c.) for 
June. I 

My First Visit to New England. William Dean 
Howelis. Harper* s Magazine ( 38 c. ) for June. 

Memoirs of Wendell Phillips. George W. Smalley. 
Harper*s Magazine ( 38 c. ) for June. 

Portraits in Fiction. Charles Dudley Warner. Editor's 
Study in Harper's Magazine ( 38 c. ) for June. 

The Eyk as an Optical Instrument. Austin Flint, 
M. D. Popular Science Monthly ( 53 c. ) for June. 

Photo-telegraphy. Photographic Tinus ( 18 c. each ) for 
April 27, May 4, and May 11. 

Photographs for Half-tone Cuts, Photographic 
Times ( 18 c. ) for May 18. 

Every Man His Own Publisher. George S. Cottman. 
Chicago Magazine ( 18 c. ) for May. 

The Gentle Reader. The Point of View, in Scriiner^s 
Magazine ( 28 c. ) for June. 

Edison's Invention of the Kineto-Phonograph. Anto- 
niaand W. K. L. Dickson. With an introduction by Thomas 
A. Edison. Century ( 38 c. ) for June. 

The Mother of Ivan Tourgu^nbff. Hjalmar Hjorth 
Boyesen. Century ( 38 c. ) for June. 

Bookbindings of the Present. Brander Matthews. 
Century ( 38 c. ) for June. 

Jambs Whitcomb Riley. With portrait. Chicago 
Graphic (13 c.) for May 12. 

Stratford.on-Avon. Illustrated. Chicago Graphic 
( 13 c. ) for May 19. 

'• George Egbrton " ( Mrs. Clairmonte ). With portrait. 
Chicago Graphic ( 13 c. ) for May 19. 

Hblbn H. Gardener. With portrait. Journalist (13 c.) 
for May 5. 

News-writers. James Wyllys Dixon. Journalist ( 13 c. ) 
for May 12. 

McClurb*s Magazine and Its Conductors. Fourth 
Estate (8c.) for May 24. 

The Library of Congress. Louis J. Vance. Harper^s 
Young People (8c.) for May 22. 

How TO Make a Bbll Electric Telephone for Eight 
Cents. Mortimer A. Lopez. Harper's Young People (8c.) 
for May 22. 

Anne Bozeman Lyon. With portrait. Southern Maga- 
zine ( 28 c. ) for May. 

Jane Barlow. With portrait. James MacArthur, Critic 
(13 c.) for May 12. 

Beatrice Harraden. Portrait. Critic for May x2. 
Irish Surnames. Nation ( 13 c. ) for May 24. 

Author and Pubusher Again. Editor's Table, Southern 
Magazine ( 28 c. ) for June. 

Reuben T. Durbtt. With portrait. Thomas Edwin 
Spencer. Southern Magazine (28 c. ) for June. 

A Chat with Beatrice Harraden. J. L, G. Critic 
( 13 c. ) for May 19. 

Rhyme, Rhythm, Poetry, and Common Sense. Edgar 
Fawcett. Independent lor IAtly i-j. 

The Personal Equation in Literary Style. Joel 
Benton. New York Home Journal for May 9. 

Beatrice Harraden Interviewed. New Yorh World 
for May 6. 

John Jacob Astor. E. J. Edwards. Atchison (Kan.) 
Globe for May 10. 
John Jacob Astor Interviewed by Nelue Bly. New 

Ycrk World tor M&y 13. 


The Writer. 

Full Report of Addrbssbs .at Authors* Breakfast. 
Salem ( Mass. ) Gazette for May 7. 

W. Hamilton Gibson. Arthur Stedman. Galvetton 
News for May 8. 

John Swinton. Keens ( N. H. ) Sentinel lor May a. 

Mrs. Harriet M. Converse. Berkshire Sunday EagU 
( Pittsfield, Mass. ) for May 6. 

The Essentials of Good Bookbinding. John H. 
McNamec. Cambridge Tribune for May 5. 

Ik Marvel in Old Age. Reprinted from New York 
Times in Boston Globe for May 7. 

Hbzekiah Botterworth. With portrait. Boston Home 
.Journal for May 19. 

Shall Authors Combine for Mutual Protection? 
Charles Burr Todd. New York Home Journal for May 16. 

Louisville Authors. Louisville Courierjoumal for 
May 6. 

Mary E. Wilkins at Home. Boston Traveller for 
May 12. 


Mr. and Mrs. John Armstrong Chanler, 
accompanied by Miss Ella Page, of Albemarle, 
Va., will leave "Castle Hill" about June i, for 
an extended trip through the Holy Land. 

William Winter, dramatic critic of the New 
York Tribune, sailed for England May 9 for a 

Mrs. Kate Douglas Wiggin has gone to 
England, where she will spend several weeks. 

Rev. Dr. Cuyler and Mr. and Mrs. Thomas 
Nelson Page sailed for Europe on the same 
steamer May 19. 

The price of MunsorCs Phonographic News 
(New York) has been reduced from two dollars 
to one dollar a year. 

Mrs. Beatrice Harraden arrived in New 
York May 2, on her way to California. 

Theodore Stanton, after twelve years' so- 
journ in Paris, intends to resume his residence 
in the United States. 

Howard Challen, publisher of labor-saving 
record books, has removed to 165 Broadway, 
New York. 

The Penfield Publishing Co. has been incor- 
porated at Asbury Park, N. J., with a capital 
stock of $100,000. It will publish the New 
Peterson Magazine, Arthur'' s New Home Maga- 
zine, and other periodicals. All the editorial 
work of these publications, as well as the print- 
ing, binding, and mailing, will be done at 
Asbury Park. 

McClure's Magazine has removed to 30 
Lafayette place, New York. S. S. McClure, 
the publisher, has returned from Europe. 

The name of the author of "The Story of 
Margr^del," which was withheld during its 
serial publication in Blackwood* s and from the 
title-page of the book, is now announced to be 
David Storrar Meldrum. 

The petition to Congress, which is circulated 
by the American Dramatists* Club, that the 
copyright act be amended so as to make flagrant 
violations of it punishable by imprisonment, is 
meeting generous support. The American 
Dramatists* Club — president, Bronson How- 
ard, and vice-president, Henry Guy Carleton 

— has taken the matter up with great vigor, 
and as a result thousands of signatures have 
been received from almost every state of the 
Union. At the rooms of the club. No. 47 West 
Twenty-eighth street, New York, it is said that 
the leading managers of the country are taking 
the greatest interest in the movement. 

A man of wide experience in the world of 
books, among publishers and authors, says that 
Miss Wilkins owes the marked favor of the 
great public to her little old-English words; 
that she writes, " I don't want a word out of your 
mouth about it, father,** where another author 
might say, "The son implored his father not to 
express such opinions.*' Certain it is that 
" Pembroke " contains a large proportion of 
words of one syllable and Anglo-Saxon origin. 

Mrs. Alexander, the novelist, has been lame 
for two years, owing to an apparently trifling 
accident. She hurt her knee sitting in the 
cramped position it was necessary to maintain 
when seated in the dress circle of one of the 
London theatres. She is now unable to walk 
without a stick. 

M argot Tennant, now wife of the English 
home secretary, Asquith, received this note 
from Mr. Benson, the author, who took Miss 
Tennant for the heroine of his story, " Dodo.'* 
" Dear Miss Tennant — All the world is talk- 
ing of you and my novel ; when may I come to 
see you?** She replied: "Dear Mr. Benson 

— Did you really write a novel ? How clever 
of you ! Come and see me at any time." When 
he called she was out. 

The Writer. 


An interesting sketch of Charles L. Tiffany, 
of New York, and of the house of Tiffany & 
•Co., of which he is the head, has been written 
^by George Frederic Heydt, and is published in 

• a beautiful volume, richly bound in full 
'inorocco. The typography of the book is ex- 
^quisite, and Mr. Heydt's sketch of the history 
-of the well-known firm possesses more than 
•ordinary interest. 

Book News (Philadelphia) for May has por- 
traits and biographies of Celia Thaxter and 
-Olive Thortie Miller. 

Samuel L. Clemens ( " Mark Twain " ) sailed 
Aox Europe May 9. The liabilities of his firm, 
Charles L. Webster & Co., are fixed by the 
. assignee at about $80,000. 

The Elzevir Company, of New York, man- 
aged by John B. Alden, made an assignment 
May 2. 

The liabilities of the Russell Publishing Co., 

*of Boston, were fixed at the time of the com- 
pany's failure at about $40,000. At a sale of 
the company's property by the assignees May 

fci4 $3,450 were realized. The property sold 
-consisted of the publications Our Little Ones 

.and the Whole Family^ which were bought by 
Hartshorn & Petti ngill, who publish the House- 

.hold. This same firm has also bought the 
Cottage Hearth. 

Judgment for $6,835 was entered in New 
York May 25 against the Housewife Corpora- 
tion, pubhsher, of No. 83 Warren street, in 
favor of Wynkoop & Hallenbeck, on the attach- 
ment obtained by them May i. 

M. Zola is as systematic and as sure to do a 
certain number of pages, and no more, each day 
as the late Anthony Trollope was. Each of his 
books contains about 500 pages of forty lines 
to a page. 

Mrs. Humphry Ward is living in a pretty 

• country house at Tring. 

Will Carleton contributed " Betsy and I Are 

Out" to the Toledo Blade while he was a 

salaried writer on that paper, and received only 

^* editorial encouragement" in return for it. 

^'Over the Hill to the Poorhouse," was con- 

-^ributed to Harper'* s Monthly and brought him 

^ check for $30. The poorhouse referred to in 

rthe poem is the one near Hillsdale, Mich. 

An ** Authors' Breakfast " was given in Salem 
May 5, in honor of the American Authors' 
Guild, by the Salem Thought and Work Club. 
Among the distinguished guests were : Edward 
Everett Hale, Julia Ward Howe, Robert Grant, 
Olive Thome Miller, Ella Wheeler Wilcox, 
James Grant Wilson, president of the Guild, 
Titus Munson Coan, Charles FoUen Adams, J. 
T. Trowbridge, Elizabeth Akers Allen, Charles 
Burr Todd, Craven Langstroth Betts, Walter 
Blackburn Harte, Ednah Dow Cheney, and 
Hezekiah Butterworth. 

Mrs. Mary Holland Lee, author of " Margaret 
Salisbury," will spend the summer months at 
her country home in Shrewsbury, Mass. 

" Ouida " ( Louise de la Ram^e ) sold her 
household effects and other portable property, 
including her manuscripts, at auction, at 
Florence, Italy, May 21. 

Jordan, Marsh, & Co., Boston, announce 
an art exhibition to be given in November, 
and offer to artists who have lived in New 
England for one year a special prize of $1,500, 
two prizes of $300 each, and three prizes of $200 
each, for the best paintings of New England 
subjects that may be submitted. The picture 
winning the grand prize is to be presented to 
the Boston Museum of Fine Arts. 

Current Topics ( Chicago ) has changed its 
name to the Chicago Magazine. 

Harper^s Magazine for June contains eighty- 
four pictures. Few books have so many. 
Among them is a portrait of Owen Wister, in- 
cluded in Charles Belmont Davis' article on 

Among other attractive features in the Maga- 
zine of Art { New York ) for June is an article 
with nine illustrations on "The Authentic Por- 
traits of Robert Burns." 

" The Master" is the title of a new story by 
L Zangwill, the publication of which has just 
been commenced in Harper's Weekly. 

A series of portraits of Richard Harding 
Davis will appear in the department of ** Human 
documents " in the June number of McClure^s 
Magazine (New York ). 

The circulation of the New York World is 
now more than 433,000 corves ^d^. 


The Writer. 

Austin Abbott contributes to the May 
Review of Reviews (New York) a valuable 
r^sum^ of the life-work of David Dudley Field. 
The article is illustrated with portraits of the 
distinguished Field brothers. 

In the privately printed volume of " Selected 
Letters of Malcolm Kingsley Macmillan "is a 
letter written by Mr. Macmillan to his brother, 
in which he says of his friend, Francis Marion 
Crawford : " Crawford was up a day or two 
lately, and I am more than ever struck with 
the fact that he is far more remarkable than his 
books. He speaks four languages so that the 
natives cannot detect him for a foreigner. He 
knows a good deal of Sanskrit, though he hardly 
ever refers to it. He learnt Norwegian*, so as 
to pronounce it properly, in about three lessons 
from Ross. He is a good fencer, a good sailor, 
and can do silver repoussde work. With no 
training, he has designed the entire reconstruc- 
tion of his house at Sorrento. Both in mathe- 
matics and draughtsmanship he is more than 
mediocre. He seems able to do almost any- 
thing he turns his attention to. The one thing 
he has almost entirely neglected is modern 
literature; and he always says that he is not 
really a literary man. In this there is some 
truth, though he has a kind of imagination that 
he throws into everything.*' 

Stanley Waterloo, the Chicago author and 
newspaper man, engaged with a publisher to 
have a book on the Coxey movement ready for 
the press within four days. He began Monday 
morning, April 30, with a staff of writers, 
photographers, and typewriters, and Thursday 
night, May 3, the copy for a book of 100,000 
words, with forty illustrations, was in the hands 
of the printers. 

Mrs. Mary Cahill, of Brooklyn, otherwise 
known as " Marie Walsh," author of " Hazel 
Kirke " and other novels, has adopted South 
Dakota as her home, for the purpose of procur- 
ing a divorce. Mrs. Cahill's husband lives in 
Chicago, where he edits the Home Lights a 
Roman Catholic weekly. 

The Cassell Publishing Co. announces 
" Wanted, A Copyist," a story which touches 
on newspaper work, and " Chaperoned," an 
addition to the Unknown Library. 

D. Appleton & Co. announce " Climbing in? 
the Himalayas," by Dr. William Martin Con- 
way, vice-president of the Alpine Club ; " Cleo- 
patra," a new historical romance by Dr. Georg 
Ebers; "A Daughter of To-day," by Mrs.. 
Everard Cotes (Sara Jeannette Duncan )^ 
" Mary Fenwick's Daughter," by Beatrice 
Whitby ; and " General Washington," by Gen- 
eral Bradley T. Johnson. 

Poultney Bigelow gave a dinner in London 
to Mark Twain May 17. 

Wilson's Photographic Magazine (New 
York) for May has a portrait and sketch of 
John A. Tennant, its associate editor. 

The National Baptist has been sold for 
$16,000 to the owner of the New York Ex- 
aminer, and its publication in Philadelphia is 
to be discontinued. Since 1872 Rev. Dr. H. L.- 
Wayland has edited the National Baptist, and 
he became its owner in 1883. 

"Aunt Fanny," thus best known from her books 
for children, died in New York, May 7, aged 
seventy-two. She was Mrs. Frances Elizabeth 
(Mease) Barrow, a native of Charleston, S. C, 
and had been writing ever since 1855. Her 
" Little Pet " books, " Six Mitten " books, " Pop- 
gun" stories, "Nightcap" series, and others, 
went through many editions and had a great 
circulation both in America and England. Mrs. 
Barrow was also a writer for the New York 

General Matthew M. Trumbull died in Chi- 
cago May 9, aged sixty-eight. He wrote chiefly 
under the pen name, " Wheelbarrow." 

Professor Henry Morley, the distinguished 
author and lecturer, died at Carisbrooke, Isle 
of Wight, May 14. 

Thomas Niles, senior member of the firm of 
Roberts Bros., Boston, died in Perugia, Italy, 
May 18, aged sixty-nine. 

Andrew J. Graham, author of Graham's sys- 
tem of phonography, died at Orange, N. J.,. 
May 19, aged sixty-four. 

Edmund Yates died of apoplexy in London 
May 20, aged sixty-three. 

Professor George John Romanes, F. R. S., 
LL. D., died suddenly at Oxford, England^. 
May 23, aged forty-six. 




Vol. VII. 

BOSTON, JULY, 1894. 

No. 7. 

Entered at the B9ST0N Post-office as second-class mail matter. 

CONTENTS : pagb 

Dr. RoDRiGUKS Ottolbngui. Stephen L. Coles ... 97 
Inconsistencies OF Illustration. Harriet Caryl Cox. 98 
The Cult of the Meaningless. Forrest Morgan. . 99 
The Known to the Unknown, yid. H. Gibson. . . 102 
One Use of the Comma. E. Lincoln Kellogg. . . .103 

Editorial 104 

The Business Side of Book Publishing, 104 — Using 
the Plionograph, 104 — A Good Piece of Copy-editing, 
105 — Number of Characters in Well-known Novels. 106 
Shall Writers Advertise? Clifton S. VVady. . . .106 

The Scrap Basket 106 

The Use and Misuse of Words 106 

"I Feel Badly.'* 106 

Newspaper English Edited 107 

Book Reviews 107 

Helpful Hints AND Suggestions no 

" How to Read." no 

Literary Articles in Periodicals no 

News and Notes m 


Rodrigues Ottolengui, the author of *'An 
Artist in Crime," "A Conflict of Evidence/' 
and "A Modern Wizard," — three of the latest, 
most successful, and subtle detective stories, — 
is slightly built, dark complexioned, and of 
medium height, a close student, an ardent and 
intense literary worker, and the possessor of a 
keenly analytical and logical mind. His mental 
qualities are apparent to his readers in his 
work, as well as to his friends, who also appre- 
ciate fully his personal magnetism. In his pro- 
fession as a dentist he has achieved enviable 
success, not alone in his practical work, but, as 
a result of this, in the production of highly com- 
mended scientific essays and text-books. 

Dr. Ottolengui was born in Charleston, S.C, 
in 1861. He obtained his early education in 
that city, and came North in 1876, receiving his 
diploma conferring the degree of M. D. S. at 
Albany, N. Y., at the age of twenty-two. He 

has always practiced in New York City. He 
began contributing stories and sketches to the 
daily and Sunday local papers in Charleston in 
1874. His "Switchman's Story," published in 
a book of recitations about 1884, has been 
widely read and recited. Dr. Ottolengui has 
contributed a large number of articles on den- 
tistry to the leading journals in this country, 
and many of the productions of his pen have 
been translated into foreign languages. 

His first serious work was a text-book for 
dental colleges, entitled " Methods of Filling 
Teeth." The illustrations were drawn from 
240 models made for the purpose by Dr. Otto- 
lengui. He received $1,000 in cash and a 
handsome royalty for the manuscript of this 
book. The work is chiefly characterized by its 
analytical methods, every one of which has been 
practically accomplished by the author in his 
personal practice. The originality and novelty 
of the work gave it at once an educational popu- 
larity as flattering to its author as it was valua- 
able to the dental profession. 

Dr. Ottolengui's first published distinctly liter- 
ary effort was "An Artist in Crime," which was 
brought out by G. P. Putnam's Sons, of New 
York, in the autumn of 1892. The book pleased 
the public and the critics generally, having re- 
ceived but two derogatory reviews. Before this 
Dr. Ottolengui had written three romances, one 
of which has since been rewritten and pub- 
lished, while the others are lying fallow. "A 
Conflict of Evidence," published by the Put- 
nams in the summer of 1893, was his next book 
to appear. These two works are narratives 
only, the author's first real attempt at novel- 
writing being " A Modern Wizard," which has 
been before the public but a few weeks. 

Dr. Ottolengui's methods of work are charac- 
teristic. He uses no notes ^ tK^ x^V^.^'Sk'v'^'sN.^x-N 

Copyright, i8q4, by Wiluau H. Hi\.\js. KVl ri^^Xa xtaent^. 



is first mapped out in his mind, the theme is 
decided upon, and the central characters are 
studied out. He is then ready to write, the 
original draft being made on a typewriter. One 
whole chapter is written at each sitting, and no 
part of this manuscript is corrected or altered 
in any way until the whole story is finished. 
Then the manuscript is revised and edited with 
pen and ink and copied over again on the type- 
writer. The manuscript is again edited, and 
this time all punctuation and spelling are as 
carefully scrutinized as if it were the final page 
proof. Dr. Ottolengui corrects all his own 
proof. He lays great stress on the elementary 
requirements of authorship, endeavoring to 
have his language grammatical, and striving to 
avoid errors of this kind. He writes one chap- 
ter, averaging about fifteen typewritten pages, 
in three hours. 

In beginning a story Dr. Ottolengui starts 
with a motif and a problem to prove. Each 
individual character is modelled in his mind 
and thought over until it seems a living pres- 
ence. With the theme and the characterization 

in his mind, the author occupies the position of 
an amanuensis, and the situations are a logical 
result of the action of the story as it progresses. 
Although laying no pretence to a professional 
knowledge of the law, the medico-legal portions 
of Dr. Ottolengui's writing, especially shown in 
the trial scene in " A Modern Wizard," are 
scientific and correct, and have received high 
praise from both lawyers and physicians. He 
never hesitates to probe a reference to the last 
and latest authority. Many of the seemingly 
mysterious effects prominently apparent in his 
stories are directly traceable to known causes, 
and the deft and popular way in which the 
author leads the reader to an easy understand- 
ing of the matter in hand relieves the latter at 
once of any misgivings that he may be getting 
into deep water. Dr. Ottolengui's stories are 
remarkable for their ingenuity of conception, 
originality of situations, cleverness of plot, 
accuracy of detail, and the popularity they have 
made for their author. 

Stephen L, Coles. 

Nbw York, N. Y. 


It is all very well to have your story or 
article embellished by illustrations ; the pictures 
make it more attractive, and the young author 
feels a pride that his thought should be more 
fully transmitted to the admiring public by 
means of the illustrator's art; yet there are times 
when in an agony the suffering author would 
cry, Dott't ; oh, don't. 

It is bad enough when the creature you have 
made the embodiment of all charms and graces, 
a maiden fair and slender, appears in a gown 
the style of which dates some two years back, 
and with a physique that is anything but 
" willowv." 

This is a trifle light as air, however, compared 
with the atrocious cruelty of depicting a youth- 
ful hero first in short trousers, then in long and 
verj whole ones, and later in knee breeches. 

and very ragged ones at that. Think of the 
feelings of that boy at being put back ! 

Yet such a cruel thing as this has actually 
been done. In extenuation, let it be said that 
while it was the same boy, he appeared in three 
separate stories, and possibly each was placed 
in the hands of a different illustrator. Yet con- 
sistency in his apparel is something which 
should have been seen to. 

The same editor accepted the three stories, 
and they followed each other quite closely. In 
the first the boy was very small, a newsboy, in 
short trousers. In the second he had been pro- 
moted to office boy; he had grown consider- 
ably, in fact was quite unrecognizable, but this 
might have been attributed to his rise in life. 
But in the third story, alas! he was again a 
ragged youngster in knickerbockers. 

The Writer. 


The general reader may have passed these 

blunders by unnoticed, but to the author 

^hey were annoying. At best, one's conception 

can be but inadequately expressed by the illus- 

ctrator. Can not the author, then, in justice de- 

mand that his work be exempt from all attempts 
at illustration, if illustration invites these glaring 
inconsistencies ? 

Harriet Caryl Cox* 

Abington, Mass. 


Naturally, most of the discussions in The 
Writer are on the composition of prose, 
^though now and then one has crept in on that 
•of poetry. I say poetry rather than verse, be- 
cause if verse is not poetry, it has no business 
to exist — though it does in large quantities. 
But I have a word to say on how not to write it, 
illustrated by one or two dreadful examples. 
The lesson is by no means without use even for 
the writers of prose. 

Modern poetry — very modern poetry — has 
two fundamental divisions. One is the old, and 
fortunately still the chief, in which the expres- 
sion of an idea is the primary object ; if the idea 
is a poor one, that is the intellectual misfortune 
of the author, but it is usually the best he can 
do at the time. In this sort the verbal phras- 
ing, however carefully wrought for intrinsic 
beauty, is still subordinate, a mere means of 
developing and adorning the germinal idea. 
But with Keats, to whom poetry was primarily 
a luxurious titillation of the senses, came in 
another species, the exact reverse of this : one 
in which the words are the first thought, and 
the meaning is wholly subordinate, and often 
grudgingly stinted of care, as being only an un- 
avoidable hindrance. This class, when full- 
blown, as in the unlovely fungus I shall use for 
illustration, is, in spite of a surface pretence of 
meaning, essentially gibberish, like " Jabber- 
wocky " or the " Laura Matilda " verses in 
** Rejected Addresses " ; that is, while any one 
word means or may mean something, there is 
no certainty that any two put together will, nor 
any consistent efiEort to make them. The 
. ^mosaic is not in design an artistic pattern 
^vrought in stone, but a collection of pretty 

stones which cannot be dumped in at absolute 
random and gain acceptance as art, and must 
therefore be given some sort of arrangement. 

Much of " Endymion " is of this order : there 
are sections of it which stand out dazzlingly 
solid, like diamonds in a fog; but after reading 
it intermittently for many years, I do not know 
what the bulk of it is about, and have never 
seen any one who did. The Quarterly Review- 
ers had much cause, and are unjustly reviled. 
Keats' later work was different, though even 
the godlike " Hyperion " shows the taint ; but 
he had created a type too grateful to sensuous 
temperaments and unexacting intellects to let 
die, and the afflicting school of poetic word- 
painters and colorists is the result. Care niust 
be taken not to confound it with the work of 
the word-music school, which often ends in ex- 
actly the same result, but by a different road. 
The latter is rather the ofiEspring of the lyre ; 
Poe was an eminent master in it, and by his 
own confession pushed it to the confines of 
sheer jargon to make words perform the func- 
tions of pure music irrespective of the intellect- 
ual idea. He was too great an artist quite to 
pass the border, but in " Ulalume " he went to 
the very verge. Tennyson has done the same 
in " Claribel " and elsewhere ; Swinburne has 
written reams of musical words without ideas ; 
James Whitcomb Riley has tried it in " Flying 
Islands of the Night." 

The class I mean, in which the primary 
thought is not so much the music as the color, 
the pictorial suggestiveness, or the decorative 
effect of the words, has for obvious reasons not 
had nearly so many eminent masters as the 
musical branch. Song is of all time and for all 


The Writer. 

the world, and music is often meaning enough ; 
while the other is of the few and for the day. 
Keats, the first artificer, is still the greatest (do 
not forget, however, that the parts of his work 
which have really lived and are read are of the 
other sort ) ; William Morris comes next, but he 
is not an extreme instance. The mass of such 
work is done by a vast shoal of small-fry, 
ephemerides by the nature of their work, be- 
cause there is nothing to please the mind or 
the heart after the senses have had their fleet- 
ing fillip. 

One of the most perfect examples in modern 
verse-writing lies before me. It is on a prospec- 
tus of " The Bayadere, and Other Sonnets," by 
the late Francis S. Saltus; a limited Edition de 
luxe. The attempt since his death to " boom " 
this unchoice spirit — who, with money, cultiva- 
tion, travel, all the good gifts of fortune, snarled 
at life and an unappreciative world till his early 
and needless death — into a neglected and un- 
dervalued genius, a sort of Burns, a "glory-and- 
shame " of American letters, is one of the most 
ludicrous episodes in literary history. It is 
almost entirely the work of the bachelor club- 
men of New York, who are numerous enough 
to have a weekly organ ; a class as one-sided 
and distorted in one direction in their views of 
both life and literature as young girls are in the 
other, and for just the same reason — exclusive 
confinement to one part of life, and consequent 
ignorance of the facts of the other. The one 
class will not believe that physical passion has 
any rights or needs to exist, the other believes 
the universe exists only for it and in its mani- 
festations. The latter's worship of Mr. Saltus 
is inspired partly by his verse being directed 
toward the nerves of sensation, but mainly — 
for they do not as a body care more for poetry 
or understand it better than the average of 
other people, which is very little — by his hav- 
ing put more disgustingly nasty and physically 
revolting images into verse than any other 
being who ever wrote in English. This is ac- 
counted "virility," and "frankness," and "free- 
dom from Philistinism," and " devotion to Art 
as Art " ( I shall show in a moment how much 
the art was worth ), and " emancipation from the 
fetters of smug morality " ; and he is held to be 
a £^reat man and a great poet for it, without 

further examination. He was, in fact, merely an' 
industrious verbal bricklayer,, of little artistic 
variety beyond the ordinary mechanical manipu- 
lations, no analytic power, and wholly guiltless 
of an original idea; but with immense fecundity 
of language, great width of reading, a good deal 
of raw pictorial sense, and not a bad aim when 
he wished to hit a sensory nerve. During his 
lifetime I had his poems to select from, literally 
by the hundred, — for he had the remorseless 
facility of a sausage machine. They were all 
labored brick-and-mortar verse, full of culture 
and the entire contents of the paint-box, and so 
exactly alike and so absolutely devoid of a 
spark of fire or spontaneity that there was no 
reason for accepting or rejecting any one that 
would not hold good of the whole. Moreover, 
they were put together with no real care for 
syntax, coherence, consistency, or sense of any 
kind : the chief consideration was that the 
words should sound well by themselves, and 
scan and rhyme ; and the flattest self-con- 
tradictions, even in the same line, never ruffled 
his complacent admiration for his work. I 
could choose no better sample than the title- 
sonnet printed on the circular, "The Baya- 
dere " ; and I invite attention to it as showing 
what the Howell Gibbonses, and even the Van 
Bibbers, regard as great poetry, and more es- 
pecially to show how not to write poetry if you 
wish it to live. 

(i) Near strange weird temples, where the Ganges' tide 

(2) Bathes doomed Lahore, I watched, by spice-trees fanned, 

(3) Her agile form in some quaint saraband, 

(4) A marvel of passionate chastity and pride. 

(5) Nude to the loins, superb and leopard-eyed, 

(6) With fragrant roses in her jeweled hand, 

(7) Before some Ka&t-drunk Rajah, mute and grand, 

(8) Her flexile body bends, her white feet glide. 

(9) The dull Kinoors throb one monotonous tune, 

(10) And wail with zeal as in a hasheesh trance : 

(i i) Her scintillant eyes in vague, ecstatic charm 

(12) Bum like black stars below the Orient moon, 

(13) While the suave, dreamy languor of the dance 

(14) Lulls the grim, drowsy cobra on her arm. 

( I. ) " Strange weird " is mere pleonasm and 
padding. Anything weird is strange: weird 
things are not part of common life. 

( 2. ) Trees shade people, but don't fan them. 
And who is it that is fanned — the writer or 
the dancer? The clumsy syntax gives no clue. 

( 3. ) Why " some " 1 A saraband is a sara- 
band, as a minuet is a minuet. And how 

The Writer. 


"quaint"? The word cannot be twisted into 
any meaning that will make sense of applying 
it to a dance; and if there could be a quaint 
dance, of all things on earth a dirty Oriental 
dance is least entitled to the name. 

(4.) This is probably the most nonsensical 
line in the language. How in the world can 
any woman be a marvel of chastity? She can't 
more than be chaste ; most women are chaste, 
and even nuns are too common to be a marvel. 
And how a marvel of pride ? Pride over 
nothing is the commonest of things. And if a 
woman could be a marvel of chastity, and of 
passionate chastity ( that is, resentful of the 
least hint of defilement), and of passionate 
chastity and pride^ one of the creatures to 
whom it would be most absurd to apply it 
would be a half-naked slave girl dancing an 
indecent dance before a drunken Eastern 
prince, of vvhom she would generally be a 
concubine. Or perhaps it is not she, but her 
agile form or the saraband that is a marvel as 
stated : the syntax makes one reading as 
grammatical as the other. 

(5.) I do not believe Mr. Saltus ever saw 
a leopard's eyes; he put this in because it 
sounds well and rhymes. 

( 6. ) " Fragrant roses " is padding. All roses 
are at least conventionally supposed to be 

( 7. ) Which is grand — the drunken rajah or 
the dancer? Again the slovenly syntax gives 
no clue, and in either case the epithet is mere 
nonsense and rhyme-padding. A drunken 
princeling is not grand, and a supple slave 
doing a prurient dance for his pleasure is not 

(8.) If her body was n't flexile, it could n't 
bend. Padding again. 

(10.) '' Wail with zeal " is a ludicrously in- 
congruous image, recalling the mourners at an 
Irish wake, or a castigated child with his fists 
in his eyes, — not anything Oriental. I do not 
happen to know what a kinoor is ; but presum- 
ing it to be a musical instrument, how can it 
eat hasheesh or go into a trance, and why 
would it wail any more zealously if it did? 
And if it is a man, men do not, I believe, wail 
zealously when in a trance, hasheesh or any 
other. And how can either of these throb 

monotonously and wail zealously at the same 
time? Throbbing and wailing, or zeal and mo- 
notony, are not very compatible processes, and 
are certainly not harmonious epithets. 

(11.) How can anything scintillant be vague ? 
What sort of a thing is a vague sparkle? And 
of all things, what is a vague ecstasy? The 
three adjectives swear at each other ; the author 
evidently never cared what sort of an interne- 
cine war they had when he once got them 
together. And as "charm" is the effect the 
eyes produce on beholders, what has "ec- 
static," which is her own inner feeling, got to 
do with it anyhow? It is like speaking of a 
uraemic fascination or a choking benevolence 
of visage ; and even if it had, how could it be 
at once vague and ecstatic ? 

(12.) I should like to see a black star or a 
black fire. Also, I have heard of shining like a 
star and of burning like several things, but 
never of burning like a star, which is an image 
without coherence or pertinence. And how in 
the world can anything burn vaguely? That 
unhappy adjective " vague " is pure vague stuff- 
ing, and throws everything around it out of 
gear, for it fits nowhere. And what does the 
line mean to begin with? Are her eyes burn- 
ing below the moon? We are not told that 
this is a moonlight scene, and if it is, where 
else could they burn, and what is the difference 
between the Orient moon and other moons ? 
Or are they burning "like stars [which are] 
below the moon"? If so, why below rather 
than above ? One is as accurate as the other. 

(13.) "Suave" is a misuse of language in 
this relation : it suggests at once a diplomat or 
a shopkeeper, being used for tempers and 
manners, not sensations. One never speaks of 
the suave taste of a glass of smooth wine, or 
the suave "feeling of dropping off to sleep, but 
of a man of suave disposition or suave manners. 
This clumsy heap of epithets is gross pad- 
ding, and adds nothing to the effect. 

(14.) If the snake is lulled, the natural 
result is drowsiness — more padding; and 
"grim" is not especially graphic of a snake, 
and serves little purpose but that of metre. 
Adjective for adjective, he could have found 
much better ones than these. 

And it is tU^?»^ \t^c<^xv<^\\\qkv.'=» \'^^\^<^\^V'^'^:^'3* ^:5s. 


The Writer. 

gaudy paint-squareS) like a child's game with its 
color-box, put together so inartistically that they 
make violent discords as often as not, and ex- 
hibiting no symmetry of design and no centrality 
of purpose, that the American public is to 
flagellate itself for neglecting, and to deify in 
remorse. I think the sane and Philistine 
public judged much better than the victims of 
spiritual malnutrition, with unsatisfied sensuous 
cravings and heads untrained to even such 
elementary analysis as this; to whom such 
cheap, crude, slovenly stringing together of 
unsorted glitterments, like a savage hanging 
colored beads around his neck, seems great 
poetry and its author an unappreciated genius. 
If this edition sells, there are evidently a good 
many men with purses ampler than their in- 
tellects, and mainly composed of nerves of 
sensation — which is doubtless true. 

I had meant to give an example from another 
author, but space will not permit. What I 
most wish to urge is, that for poet and prose 
writer alike the condition of vitality is thought 
and art fused in one, and the condition of 
general acceptance, either before or after death, 
is centrality. In other words, have a thought 
first ; fix clearly in your mind what it is, second ; 
express it in a form that makes it a pleasure to 
retain, third. Don't wobble and wander and 
put in meaningless words or phrases because 

they sound prettily, and destroy the wholer 
sense of your line for a rhyme, and stuff ia« 
a pleonastic or inconsistent adjective for the- 
metre. If this is too hard, if you have no- 
thoughts strong enough to build on or clear 
enough to express intelligibly, or not melody^ 
or color enough to please the ear or senses,, 
or not metrical facility enough to avoid gross- 
padding and forced rhymes, — keep still till 
you have. And of all things, don't excuse 
yourself, even to yourself, by saying that 
Byron made this lapse of grammar, and Swin- 
burne used this harsh and halting foot, and 
Goldsmith padded his lines, and Shakespeare 
is unintelligible in spots, and so on. When 
Pope said, 

" Go on, obliging creatures ! make me see 
All that disgraced my betters met in me," 

he understood perfectly that a combination of 
the faults of great artists did not make a new 
great artist. They are accepted in spite of 
certain inelegancies or flaws, because what 
there is left is too good to lose. When you, too, . 
have a flood of good things to offer, you can 
(like Browning) defy criticism. Till then, 
weed out laboriously every fault you can see.^ 
And always try to mean something, whether 
you succeed or not. 

Forrest Morgan, 

Hartford, Conn. 


Many a failure might be avoided by beginners 
in literary work if they were careful to put into 
actual practice the good words of advice given 
by their elders in the field. Edward E. Hale 
once wrote to a young writer in the West : — 

"Write nothing unless you have something 
to say. Write nothing unless you have reason 
to think that you know more about the matter 
than those you write for. Say nothing of your- 
self unless it is absolutely necessary. Begin at 
the beginning. Stop when you have done. Use 
as short words as you can find, and as few as 
wj}} answer y 

That is a kernel full of meat for beginners — 
for everybody. 

Then among the many excellent things said' 
and written by Dr. Oliver Wendell Holmes is 
this, which every writer would do well to re- 
member: — 

" Make up your mind what you are going to 
say — and then say it quick." 

Do your thinking before you sit down to 
write. Then there will be no need of spoiling 
half a quire of paper before you can get the first 
sentence to suit you. Think and think, until 
your subject becomes clear^ then "say it 

The Writer. 


quick ! " To dilly-dally over an article is pretty 
sure to invest it with a bunglesome, jerky style, 
that " makes hard reading." 

Lord Macaulay's three questions are worth 
keeping in mind, when we decide to treat a sub- 
ject : " What do people want to know about it ? 
What do /know about it ? What shall I have 
to learn ? " 

Don't forget that the reading public is intel- 
ligent and demands clear, helpful information, 
be it in story, essay, or editorial. Dig deep for 
bright thoughts and fresh ideas. Then, as 
Louisa M. Alcott wrote me, shortly before her 
death : — 

** Hope and keep busy.'* 

Star Valley, Kan. Ad* H, Gibson, 


There seem to be two rules regarding the 
use of the comma between three or more 
adjectives in procession, when the last two are 
connected by a conjunction. For instance, 
take the following sentence, punctuated in two 
different ways: *'The charge was wild, fierce, 
headlong and irresistible"; "The charge was 
wild, fierce, headlong, and irresistible"; some 
grammars give the first example as the correct 
punctuation; others give the last. I will here 
observe that the first style of punctuation is the 
one generally used in newspaper offices; the 
second will be found the most frequently in the 
works of those who are regarded as good 
authorities on the use of the English language. 

Those grammars which omit one of the 
commas give as a rule, that a comma is to be 
inserted only where the conjunction has been 
omitted. This seems to me to be a lame rule. 
The function of the comma as a punctuation 
mark is not so much to show us where a con- 
junction has been omitted, as to aid us in 
grasping the sense of a passage, and to show 
the grammatical relation of words and phrases 
to each other. But leaving out of consideration 
any function which may be performed by the 
comma in pointing out an omission, it seems to 
me that the sense of expressions such as I have 
given is materially affected by the style of 
punctuation adopted. 

If we read: "The charge was wild, fierce, 
headlong and irresistible," in our comprehen- 

sion of the sentence we naturally connect the 
two words joined by the conjunction more 
closely than we do the two which are set off by 
commas. The impression given is erroneous ; 
for, in reality, each adjective is equal in value 
with its fellows, and each has the same force, 
and is no more closely connected with one of 
the series than with another. It requires an 
effort of the mind to separate the words prop- 
erly and give to each its true individual force. 

If we write the sentence: "The charge was 
wild, fierce, headlong, and irresistible," the uni- 
formity of punctuation corresponds to the equal 
prominence which should be given to the words 
in our minds, and no effort is required and no 
rule need be remembered to give to each word 
its proper degree of distinctness. 

The office of the conjunction is to connect ; 
of the comma, to divide. If we do not separate 
by the comma the two words between which 
the conjunction is placed, we are liable, as we 
glance along the line, to give to the last two 
combined no more force than we do each one 
of the first two, and thus lose just one-fourth of 
the strength of the expression. 

This is a case where authorities disagree. 
However, the second style of punctuation has 
the weight of best usage in its favor, as well as 
a logical reason for its adoption. The first style 
has nothing to recommend it but an arbitrary 
rule of two or three grammarians. 
Sbattlb, Wash. E. ZLincoCn KtUo?^.. 


The Writer. 

The Writer. 

Pabliahed monthly by The Writer Publishing Company, 282 
Washington street, Rooms q and 10, Boston, Mass. 

WILLIAM H. HILLS. . . . Editor. 

%*Thb Writer is published the first day of every month. 
It will be sent, post-paid, One Year for One Dollar. 

*«* All drafts and money orders should be made payable to 
The Writer Publishing Co. Stamps, or local checks, should 
not be sent in payment for subscriptions. 

•♦•The Writer will be sent only to those who have paid for 
it in advance. Accounts cannot be opened for subscriptions, 
and names will not be entered on the list unless the subscription 
order is accompanied by a remittance. When subscriptions ex- 
pire the names of subscribers will be taken off the list unless an 
order for renewal, accompanied by remittance, is received. Due 
notice will be given to every subscriber of the expiration of his 

%* No sample copies of The Writer will be sent free. 

•,*The American News Company, of New York, and the 
New England News Company, of Boston, and their branches, 
are wholesale agents for The Writer. It may be ordered 
from any newsdealer, or direct, by mail, from the publisher. 

•^^ Everything that may be printed in the magazine will be 
written expressly for it. 

•«• Not one line of paid advertisement will be printed in The 
Writer outside of the advertising pages. 

•«• Advertising rates will be sent on request. 

•«• Contributions not used will be returned, if a stamped and 
addressed envelope is enclosed. 


282 Washington street ( Rooms 9 and 10), 

P. O. Box 1905. Boston, Mass. 

Vol. VII. 

July, 1894. 

No. 7. 

Short, practical articles on topics connected 
with literary work are always wanted for The 
Writer. Readers of the magazine are invited 
to join in making it a medium of mutual help, 
and to contribute to it any ideas that may occur 
to them. The pages of The Writer are 
always open for any one who has anything help- 
ful and practical to say. Articles should be 
closely condensed ; the ideal length is about 

1,000 words. 


When all writers realize that book publishing 
is a business, and not a .sentimental occupation, 
it will be easier for some of them to understand 
why even a well-written manuscript often seeks 
a publisher in vain. Ordinary merit is not what 
a publisher desires. Something unusual is 
fKAst he IS aher; for the reading public likes 

novelties, and it pays to publish what the read- 
ing public likes. As a contributor to The 
Writer well says : " A merely well-written 
story, with a nice little plot and a happy end- 
ing, is not marketable. Thousands of such 
stories are returned to their authors, not be- 
cause they are lacking in a literary way, but 
because they are not up to the standard from a 
commercial point of view." It costs a pub- 
lisher three or four hundred dollars at least to 
bring out an ordinary book, including the cost 
of professional reading, typesetting, plates, 
paper, presswork, binding, advertising, and 
postage, and if the book falls flat, while the 
author suffers only his disappointment, the pub- 
lisher suffers pecuniary loss. Publishers are 
naturally slow to take such risks. Every manu- 
script that they reject is a source of actual ex- 
pense to them. The reading of a book manu- 
script is no trifling task. Few expert profes- 
sional Readers would like to undertake to read 
through more than one such manuscript a day, 
and the time of professional Readers cannot be 
cheaply bought. Publishers are compelled to 
employ Readers as one of the first necessities 
of their business, and the Readers have to be 
paid for reading the manuscripts which they 
reject, as well as for reading those which they 
decide are good. Instead of complaining, then, 
because his rejected manuscript has not been 
read all through, the author should remember 
that the publisher to whom he sent it has not 
been paid for the time which he and his Reader 
have devoted to it — excepting in so far as the 
profits from the books of successful authors 
pay the losses on the manuscripts of the unsuc- 
cessful ones. 

* * 

Literary history records the example of the 
man who always kept paper, and pencil, and 
matches, and a candle by his bedside, so that 
he might be able to record any bright idea that 
should come to him in the still watches of the 
night. The only danger in his case was that 
while he was fumbling around in the dark for 
matches to light the candle with, his bright idea 
might evaporate, so that when the candle flared, 
he might have nothing to record. Modern 
science has made an improvement possible, in 
some cases, by the use of the electric light, which 

The Writer. 


can be made toflash by pressing or twisting a but- 
ton, giving the bright idea no time to disappear. 
Even a more convenient means of accomplish- 
ing the desired object is available, however, in 
the shape of the phonograph. One busy writer 
says that he often puts into his phonograph 
-cylinders in an evening 4,000 or 5,000 words to 
be transcribed by his typewriter next day. He 
keeps a phonograph at his home, and the little 
case which he brings in town in the morning is 
sure to contain a large quantity of matter ready to 
be copied and turned over to the printer. The 
phonograph works as well in the dark as in the 
light, so that the author who wants to '* book ** 
his casual midnight thoughts needs only to keep 
one by his bedside and talk into it as into the 
ear of a long-suffering confidential friend. It 
beats the match and candle and paper and 
pencil scheme clear out of sight. 


One of the best examples of good newspaper 
■ copy-editing which ever came to the attention 
of the editor of The Writer lies on his desk 
as he writes this paragraph. It is in the form 
oi two sheets of postal telegraph copy, a de- 
spatch from Brockton, Mass., to the Bos/on 
Globe^ skilfully blue-pencilled by the Globe's 
night editor. The original despatch and the 
remnant of it that was printed in the Globe are 
worth quoting in full, to show what happens to 
a newspaper correspondent's copy received by 
telegraph at 12.45 i" ^^^ morning, when the 
paper is crowded, and everything has to be 
"cut to the bones and the bones scraped after- 
ward," as the newspaper night editor's saying 
is. At first sight the two sheets of copy seem 
to contain nothing but barred-gates of dark 
blue-pencil lines. Underneath them and be- 
tween them can be read the typewritten de- 
spatch as the Globe's telegraph operator took it 
from his clicking instrument. It ran as fol- 
lows : — 

BROCKTOX, June i — Both branches of the city council 
held meetins^s to-night, and then they came together in a com- 
mittee of conference to discuss street lights and schoolhouses. 
The aldermen passed an order requiring the street railway 
company to replace the rails taken up in Main and MontcUo 
streets for the purpose of laying the sewers with girder rails. 
A request that Saulsbury Lake be kept full this summer was 
referred to the committee on sewerage, with power to act. In 
4he conference committee the committee on street lights pre- 
: sented two propositions to be made to the Edison company for 

lighting contracts. It was unanimously voled that it was the 
opinion of those present that an offer be made to the company 
of not exceeding ninety dollars a year for a twelve hundred- 
candle-power arc light, and fourteen dollars for a sixteen -candle- 
power incandescent light on a five-year contract. It was 
stated that the cost to the company for changes required by in- 
troducing twelve-hundred-candle-power lights would not exceed 
seven thousand five hundred dollars. Then followed a long 
talk about schoolhouses, and plans were shown, after which 
the committee adjourned, without taking any action whatever. 
In the meeting of the committee of the whole on city hall 
which followed, the sub-committee reported that it would cost 
the city $7,574.34 per year to accept the offer of the Edison 
company for heating and lightmg the city hall, while by putting 
in an independent plant at a cost of about nine thousand dollars, 
the cost of heating and lighting would be reduced $3,323.34 
per year. 

The committee recommended that the city put in two en- 
gines, two dynamos, and a pump. The report was accepted 
and the recommendation was adopted. The committee rec- 
ommended the purchase of ideal engine and general electric 
dynamos for $6,81 1. An attempt to table failed, and by a vote 
of 32 to 3 the contract was voted. 

The sub-committee was instructed to secure bids for pump- 
ing machinery for the elevator water. 

Here is the same " special " as it was printed 
in the Globe^ June 2 : — 

Bynames for Brockton City Hall. 

BROCKTON, June i — Both branches of the city council 
met to-night. In the conference committee it was unani- 
mously voted to offer the Edison company a sum not exceed- 
ing $90 a year for a 1,200-candle-power arc light, and $14 for a 
sixteen-candle-power incandescent light on a five-year contract- 
In the meeting of the committee of the whole on city hall it was 
voted to accept the sub-committee report, that the city purchase 
an engine and electric dynamos for a plant to light city hall. 

The night editor who made the change did it 
by writing in blue pencil a headline, marked 
with the composing-room number of the type in 
which it must be set; writing a line underneath 
giving the name of the correspondent and the 
hour at which his despatch was received ; mark- 
ing out the words and sentences to be omitted, 
and writing in just twenty-three words to con- 
nect the remaining parts and make the sense 
complete. As the reader will see, every impor- 
tant fact in the original despatch is included in 
the printed " special," only details and notes of 
unimportant business, for which a crowded 
metropolitan daily has no room, having been 
cut out by the editor. Perfect justice was done 
to the correspondent, and in view of the fact 
that this piece of editing was done without 
special care, in the ordinary course of a busy 
night's work, the editor who did it — and who 
will be surprised when he sees this in The 
Writer — has good reason to feel satisfied 



with his accomplishment. The original de- 
spatch and the printed "special" together give 
a useful practical lesson in the art of skilful 

Somebody has been counting the number of 
characters introduced in several novels, more 
or less well-known, with rather interesting re- 
sults. In making up the lists only those char- 
acters have been included who join in the 
action, no record having been made of charac- 
ters who are merely mentioned in conversation, 
and who take no part in helping on the story. 
Of characters thus defined, Besant's '* All Sorts 
and Conditions of Men" has 23; Trollope's 
*' Barchester Towers " has 33 ; Lytton's " Night 
and Morning," 42; Scott's "Heart of Mid- 
lothian, 49; George Eliot's" Middlemarch," 59; 
Disraeli's "Tancred," 59; Thackeray's "Vanity 
Fair," 66 ; and Dickens' " David Copperfield," 
loi. Think of imagining and describing loi 
characters in a single novel, making most of 
them as distinct and clear as any living person- 
age known to the reader, as Dickens did ! 
Before the young author undertakes to write 
out his first long novel he would find it good 
practice to try independent character sketching 
for a while, experimenting to see how many 
distinct characters he can picture to himself, 
and how varied he can make his descriptions of 

them. w. H. H. 



The following advertisement I clipped from a 
Boston daily paper : — 



* a three-act farce-comedy that, if well acted, the whole world 
might laugh over. Its action is unique. Will sell copyright or 
grant right to produce it. F. W. OSBORNE, Brockton, Mass. 

This raised the question in my mind whether 
or not the writer who had tried a promiscuous 
mailing of his matter to "probable customers " 
might not find advertising of more avail. Why 
should not manuscripts be offered for sale 
through a medium like The Writer ? If this 
were the general custom, editors and publishers 
would find their wants anticipated and a list of 
matter presented for their selection in the liter- 
ary ** class " papers. At all events, such an 
advertisement as that I have quoted would find 

a more appreciative audience in the readers ol: 
this magazine than it would in any daily paper. 

aif/on S. Wady, 



Some young writers — and some old ones-, 
too, for that matter — may get a useful hint 
about the use of metaphor by reading an edi- 
torial note, recently published in the Interior^. 
of Chicago. The Interior says: "We wish 
the Signal would not employ martial rhetoric, 
like this : * Mrs. Dunham, the state president, 
has organized her loyal lieutenants and faithfuL 
following into a brave brigade, which is charg- 
ing the legislative heights with the home pro- 
tection guns.' People do not charge with guns, 
which in military parlance means cannon; but 
with bayonets and cavalry sabres. Women 
cannot charge anyway. They are not built for 
the double-quick rush ; and as for cavalry, hav- 
ing only a stirrup on one side, they are at a 
disadvantage. They cannot yell, which is 
always necessary in a bayonet or cavalry 
charge. If they were to try to yell, they would 
only scream. Here is the correct way to write 
it: *Mrs. Dunham has organized her gentle 
and lovely torch-bearers in a white-robed pro- 
cession, to carry the light of the home into the 
gloomy caverns of legislative ignorance and 
political darkness.*" Such misuse of meta- 
phor reminds one of the historic eloquent sen 
tence from the sermon of a young and zealous 
minister: "Here stands Mother Church — 
one foot firmly planted on the earth, the other 
pointed toward Heaven ! " A. b. 

Chicago, 111. 


Some writers say that " I feel bad," and 
not *' I feel badly," is the proper phrase. 
Adams Sherman Hill in his '* Foundations 
of Rhetoric " gives the preference to *' I 
feel badly," his reason being that "bad" is 
ambiguous, "bad" being in use in two senses. 
(As a matter of fact "feel" is ambiguous, 
too, "feel" being in use in two senses also.) 
Professor Hill says : " As a rule, it is proper 
to use an adjective whenever some form of 
* to be * or * to seem ' may be substituted for the 

The Writer. 


verb, an adverb when no such substitution can 
be made." He gives as example : " An old 
shoe feels easy " ; " Miss Amy looked pretty." 

H. M. S. 
Chicago, III. 


On Saturday afternoon Asa 
C. Harvey, of Meacham 
street, was given a farewell 
dinner at Young's hotel by 
over a hundred of his railroad 
friends, and was the recipient 
of several valuable presents. 
— Boston reporter's copy. 

A farewell dinner was given 
to Asa C. Harvev, of 
Meacham street, at Young's 
hotel Saturday afternoon by 
more than a hundred of his 
railroad friends, who gave 
him also several valuable 

Possessed with a fully 
equipped machine shop, and 
workmen who understand 
their business, our second- 
hand presses, cutters, and 
other machinery receive a 
thorough overhauling and 
rebuilding before they are 
offered for sale. — The Proof 

Possessing a fully equipp>ed 
machine shop and employing 
workmen who understand 
their business, we give our 
second-hand presses, cutters, 
and other machinery a thor- 
ough overhauling and rebuild- 
ing before offering them for 


A guide to the art of composi- 
Philadelphia : J. B. Lippin- 

Thk Writer's Hand-Book. 
tion. 573 pp. Cloth, $2.50. 
cott Company. 1888. 

*' The Writer's Handbook " is really made up 
of three books, separately paged: Part I. dis- 
cusses '* Composition and Style," and after an 
introduction on authorship, speaks of purity of 
style, with illustrative examples; propriety of 
style ; precision of style ; synonymous words ; 
the structure of sentences; figurative language; 
personification; apostrophe; hyperbole; com- 
parison ; metaphor ; allegory ; concise and 
diffuse style ; nervous and feeble style ; vehe- 
ment style; plain style; neat style; graceful 
style; florid style; the simple and the affected 
style ; the attainment of a good style, etc. 
Appended to this division is a section relating 
to printing and publishing; manuscripts and 
their preparation ; the relations of author and 
publisher; proof correcting; the size of paper; 
the size of type; stereotyping: binding, etc. 
Part II. discusses "English Composition," with 
remarks on the laws of writing; the writer's 
vocabulary ; taking pains in writing ; the forma- 
tion of style : the study of models ; English or 
Latin; simplicity in style; brevity in style; 
purity in style : energy in style ; parts of 
speech; punctuation; paraphrase; hints for 
essayists: controversy, etc. Part III. discusses 
*• Letter-writing," with an introductory essay on 
letters and letter-writers ; hints on letter-writing ; 
composition and the structure of sentences ; 
punctuation; a dictionary of blunders and 
blemishes; rules for dividing words into sylla- 

bles, and for the use of prepositions in connec-^ 
tion with particular words ; a list of homonymes,- 
and of verbs and their participles ; a table o£ 
mispronounced words, etc. w. H. H. 

The Victorian Age of English Literature. By 
Mrs. Oliphant. 647 pp. Cloth, I2.00. New YorkL 
Lovell, Coryell, & Co. 1892. 

Beginning with a chapter on the state of 
literature in England at the time of Queen 
Victoria's accession to the throne, Mrs. Oli- 
phant's book reviews the literary history of the 
last sixty years, bringing her work down so 
near to the present time as to include mention 
of J. M. Barrie and Rudyard Kipling. While 
the work is subject to all the limitations by 
which an author writing of cpntemporary writers- 
necessarily is hampered, it is yet, on the whole, 
a useful and interesting one, and gives a reason- 
ably fair account of modern English writers.. 
Mrs. Oliphant's mention of her own name is 
worth quoting. " We can do no more than 
mention here the name of Mrs. Oliphant," she 
says in the proper place, "for reasons which 
the reader will easily understand. It would be 
false modesty to leave it out of a record of the 
novelists of the Victorian age." William Black 
gets only a dozen lines of mention ; in fact, the 
description of the writers of the present day is 
hardly more than a catalogue of names, and, 
altogether, Mrs. Oliphant's work, though use- 
ful, is suggestive rather than satisfying. It 
points out what some one else might do. This 
edition of the work is a popular one, issued at a 
lower price than that of the previous edition. 

w. H. H. 

American Newspaper Directory. Containing a description 
of all the newspapers and periodicals published in the United 
States, Canada, and Newfoundland, and of the towns and 
cities in which they are published. Twenty-sixth year. 1,123 
pp. Cloth, #5.00. New York: Geo. P. Rowell & Co. 

Rowell's "American Newspaper Directory," 
published annually in May, is the standard 
work of its kind. The plan of collecting the 
material for it is elaborate and systematic, and 
the publishers certainly do not spare pains or 
expense to make the work accurate and com- 
plete. So far as possible, the " directory " for 
1894, just issued, is a complete list of American 
periodicals now published, arranged alphabeti- 
cally by states, and under states by cities and 
towns, and giving, besides the name of each 
periodical, its office address, its day of publica- 
tion, its size, its specialty, its subscription 
price, its date of establishment, the names of 
its editor and its publisher, and some statistics 
of the place in which it is published, and an 
estimate of the size of its circulation. Follow- 
ing the detailed descriptions of the 20,169' 
publications included in the directory comes a 
condensed alphabetical list covering the same 
ground, and showing ^.t -a^ '^•^-w:.^ S^^ -^•j^xsnr.^ ^ 

1 08 

The Writer. 

all the periodicals issued in any given town or 
city, with an estimate of the circulation of each. 
After this again comes a list of the periodicals 
having a circulation of more than 5,000 copies 
for each issue, and finally there is a classified 
list of periodicals devoted to special trades and 
interests, in which, for instance, all the periodi- 
cals devoted to agriculture, or to dentistry, or 
to education, or to household matters, or to 
literature, are put together by tiiemselves. The 
directory is issued primarily for advertisers, 
but it is exceedingly useful to all contributors 
for the press as well, since it gives the address 
of every periodical in the country, and, as far as 
any publication of the kind can be, it is up to 
date. w. H. H. 

Romantic Professions, and Other Papers. By W. P. 
James. 225 pp. Cloth, $2.00 New York: Macmillan & 
Co. 1894. 

The essays included in this volume are en- 
titled : " Romantic Professions," " The Nemesis 
of Sentimentalism," " Romance and Youth," 
** On the Naming of Novels," "Names in 
Novels," "The Poet as Historian," "The 
Great Work," and "The Historical Novel." 
They are reprints, with revision, of papers 
which appeared originally in Blackwood's 
Magazine and Macmillan's Magazine^ and 
they are well worth preserving in book form. 
Mr. James writes cleverly, and what he has to 
say is the result both of wide reading and of 
intelligent independent thought. The essays 
•on "The Naming of Novels," "Names in 
Novbls," and " The Historical Novel " are par- 
ticularly entertaining and instructive. 

w. H. H. 

Kathakine Lauderdale. Hy F. Marion Crawford. With 
illustrations by Alfred lirennan. Two vols. 668 pp. 
Cloth, J2.00. New York : Macmillan & Co. 1804. 

There may be people who are losing sight of 
the fact that, both because of the number and 
of the importance of his works, Francis Marion 
Crawford is taking, or has already taken, the 
second place among living American novelists, 
granting that the first place is still occupied by 
Mr. Howells. " Katharine Lauderdale" is Mr. 
Crawford's twenty-third book, and from the 
announcement that it is the first of a trilogy, 
and from the other information vouchsafed re- 
garding Mr. Crawford's plans, it is evident that 
in his own view he is only at the beginning of 
his energetic literary career. The marvellous 
fecundity of the man and his indefatigable in- 
dustry, which have in a few years piled up such 
a mass of creditable literary work, naturally 
have a tendency to make his style prolix. It is 
for that reason that " Katharine Lauderdale," 
-covering the events of only five days, extends 
into two volumes, and that two other books — 
each possibly of two volumes also— may be re- 
-quired to conjplete the story which Mr. Craw- 

ford has started out to tell. This is a busy age, 
and the multitude of books is increasing rather 
than diminishing, as time goes on. If, there- 
fore, Mr. Crawford wants to get all the atten- 
tion that his works deserve, there is need for 
him to study the art of close narration. " Katha- 
rine Lauderdale," for instance, good as it is, 
would be twice as good if it were rewritten by 
the author in two-thirds its present bulk. 

As Mr. Crawford has changed his residence 
from Italy to New York, it is pleasant to see 
him leaving the Saracinescas and Monte- 
varchis, and giving us an American story, with 
American characters and American material. 
The plot of " Katharine Lauderdale " is an 
attractive and interesting one, and the charac- 
ters are distinctly and vividly portrayed. It is 
only a pity that Mr. Crawford, who can tell a 
story so particularly well, should not keep to 
his story-telling steadily, and leave essaying for 
another time. His tendency to overburden his 
stories with analyses, repetitions, dissertations, 
and other more or less interesting delays is one 
that he needs to strive against, both for his own 
sake and for the sake of the steadily increasing 
host of his admirers. > w. h. h. 

Adventures op Sherlock Holmks. By A. Conan Doyle. 
307 pp. Cloth, ;? 1. 50. New York: Harper & Bros. 1892. 

Memoirs of Sherlock Holmes. By A. Conan Doyle. 259 
pp. Cloth, 51.50. New York: Harper & Bros. 1894. 

The young writer of the present day can get 
benefit from a careful study of Dr. Doyle's 
stories of the adventures of Sherlock Holmes, 
for they are models in their way. Not only is 
Dr. Doyle's English generally good, but he tells 
his stories in a swift, compact, nervous fashion, 
that holds the reader with uninterrupted in- 
terest till the end is reached. The main out- 
lines of the story are kept clearly before the 
reader's mind, and details are subordinated in 
such a way that they help on, rather than ob- 
scure, the development of the plot. Dr. Doyle 
never digresses. He begins to tell his story in 
the first page, and he never forgets the story he 
is telling, or allows himself to be turned aside 
in the telling of it by the attractiveness of de- 
tails on which there may be a temptation to en- 
large. Constant movement characterizes every 
story in these two interesting books. Dr. 
Doyle, in short, is a master of the art of closely- 
condensed narration, and while his pictures of 
characters, scenes, and exciting events are 
clear and vivid, he makes them so with sur- 
prisingly few words. 

As a result, we have two volumes of fascinat- 
ing detective stories of the best and highest 
class. To the ordinary reader they are attrac- 
tive because of tlie inherent interest of their 
chief character and of the varied stories that 
they tell. For the writer they have an added 
value, since they serve as models of good short 
stories, illustrating in the best possible way 

The Writer. 


the clearness in conception, the singleness of 
purpose, the swiftness of narration, the concise 
portrayal of character, and the skill in the ex- 
clusion of unnecessary details, which are the 
prime requisites of success in short-story 
writing. w. h. h. 

Thb War of Indbpsndbncb. By John Fiske. 200 pp. 
Linen, 40 cents. Boston: Houghton, Mifflin, & Co. 1S94. 

This reprint in the Riverside Literature 
Series of Mr. Fiske's story of the Revolution, 
prepared originally for the Riverside Library 
tor Young People, will bring an admirable book 
to the attention of many more readers than it 
has ever reached before. It is not alone a 
brief account of the War for Independence 
written by a thoroughly competent historian : it 
discusses the underlying causes of the war, its 
origin, and its conduct, and so gives a fairer 
idea of the great struggle for liberty than any 
of the old-fashioned text-books. A biographi- 
cal sketch of Mr. Fiske is included in the book, 
which has also some good maps, an index, and 
a chapter of suggestions for collateral reading. 

w. H. H. 

My Paris Notb-book. By the author of " An Englishman 
in Paris." 307 pp. Cloth, ^1.25. Philadelphia: J. B. Lip- 
pincott Co. 1894. 

The interest aroused by the publication of 
"An Englishman in Paris is r-evived by the 
appearance of this second volume of " personal 
reminiscences " by the same author, who is 
now generally understood to be Albert D. 
Vandam, an English journalist of Dutch birth 
and a resident of Paris. This new volume, the 
author says, is made up from the note- books of 
his two uncles, who lived most of their lives in 
Paris, and who enjoyed the friendship of Louis 
Napoleon, to whom they once did a favor. The 
anecdotes in the book are supposed to have 
come from them, and are certainly new to the 
public. The value of such anecdotes, however, 
depends on their authenticity, and after the 
public's experience with "An Englishman in 
Paris," Mr. Vandam's new stories, clever as 
they are, are not likely to be taken without 
salt, — which, when it comes to historical mat- 
ters, does not ordinarily improve the flavor. 

w. H. H. 

The Umbrblla Mbndbr. By Beatrice Harraden. And 
other stories. 159 pp. Paper, 25 cents. New York: J. S. 
Ogilvie Publishing Company. 1894. 

This paper-covered volume would not deserve 
any special notice were it not for the fact that 
the publisher has tried to play a sharp trick 
upon the reading public. The cover bears only 
the title, "The Umbrella Mender," by Beatrice 
Harraden, making no mention of any "other 
stories." The title page has in small type the 
line, "And other sioxits,'''' following M\ss Har- 
raden's name, and separated from it by a period. 
" The Umbrella Mender " is the only story by 

Miss Harraden included in the book, but the 
casual purchaser would be likely to think, first 
that "The Umbrella Mender "filled the whole 
book, and afterward that the other short stories 
which follow it were written by Miss Harraden. 
There ought to be some way of preventing such 
imposition, both on an author and on the reading 
public. w. H. H. 

Good Stylb. Small Expbnsb; or, Wb'll Nbvbr Go 
Thbrb Any Morb. By Ben Holt. 197 pp. Paper, 50 
cents. New York: Baker & Taylor Company. 1894. 

In the same breezy, unconventional style in 
which he told " How I Discovered Europe," 
" Ben Holt " has recorded in this well-printed 
volume his impressions of the Chicago World's 
Fair. His trade agents have disfigured the 
copy of the book sent to The Writer by past- 
ing an address label on the fly-leaf — something 
that no publisher should ever allow any of his 
clerks to do. w. h. h. 

Thb Unknown Lifb of Christ. By the discoverer of the 
manuscript, Nicholas Notovitch. Translated from the 
French by Alexina Lorenger. igr pp. Paper, 25 cents. 
Chicago: Rand, McNally, & Co. 1894. 

In addition to a translation of the manuscript 
life of Christ which Nicholas Notovitch says he 
discovered in Thibet, guarded in a Buddhist 
monastery and unknown to Christians, this 
volume contains an account by the discoverer 
of the privations and perils encountered in his 
search for the manuscript, and a critical analy- 
sis of its contents. w. h. h. 

Thb Friendship of Naturb. By Mabel Osgood Wright. 
238 pp. Cloth, 75 cents. New York: Macmillan & Co. 

"The Friendship of Nature" is, to quote 
the title page, "a New England chronicle of 
birds and flowers." Its chapter headings in- 
clude "A New England May-dav," "When 
Orchards Bloom," "A Song 01 Summer," 
" Feathered Philosophers," " Nature's Calm," 
"A Winter Mood," etc. The author is evi- 
dently an ardent lover — more than a friend — 
of Nature, and her essays will attract all who 
love the great world out of doors. w. h. h. 

Ardis Clavbrdbn. B;^ Frank R. Stockton. 49^3 pp. Cloth, 
$1.50. New York: Charles Scribner's Sons. 1894. 

" Ardis Claverden " is now added to the 
Scribners' uniform edition of Stockton's works, 
previous editions of the story having been copy- 
righted in 1889 by P. F. Collier, and in 1890 by 
Dodd, Mead, & Co. Miss Ardis Claverden, 
the heroine of the story, is a very charming 
girl, and her relations with the various lovers 
who yield to her attractiveness give Mr. Stock- 
ton's peculiar humor ample opportunity for play. 
Dr. Lester is a very distinct and winning per- 
sonality, and Roger Dunworth, although rather 
more of a hot-headed simpleton than a man 
really ought to be, is in some respects a good 
foil for the heroine, whose love he wias, TV>fc. 


The Writer. 

:story gives some charming pictures of Virginia 
life and characters. It is told in the simple, 
graceful, easy style of which Mr. Stockton is a 
master, with hardly a periodic sentence in the 
whole 500 pages. An odd misprint is to be 
noted on page 211, where Mr. Chiverly, the 
artist, — who always wore a silk hat in his 
^studio the rest of the day whenever he had sold 
jsi picture, — is described as sitting in the breezy 
•coolness and painting landscapes '^from old 
sketches and farm memory." In a certain way, 
■**farm memory" makes sense, no doubt, but 
" from memory " was probably what Mr. Stock- 
ton said. w. H. H. 


327 pp. 

.A Flower op France. By Marah Ellis Ryan. 
Cloth. Chicago : Rand, McNally, & Co. 1894. 

In '* A Flower of France " Mrs. Ryan has 
written a story unlike her other works, chroni- 
cling the doings of certain New Orleans 
colonists during the time of the Spanish occu- 
pation. The story is an interesting one, and 
will increase the reputation of the author. 

w. H. H. 


[AH books sent to the editor of The Writer will be ac- 
'knowledged under this heading. They will receive such further 
notice as may be warranted by their importance to readers of 
the magazine.] 

His Vanished Star. By Charles Egbert Craddock. 394 pp. 
Cloth, $1.25. Boston: Houghton, Mifflin, & Co. 1894. 

My Summer in a Mormon Village. By Florence A. 
Merriam. 171 pp. Cloth, $1.00. Boston: Houghton, 
Mifflin, & Co. 1894. 

The White Crown, and Other Stories. By Herbert D. 
Ward. 336 pp. Cloth, $1.25. Boston: Houghton, Mifflin, 
& Co. 1894. 

Old English Ballads. Selected and edited by Francis B. 
Gummere. 380 pp. Cloth, $1.05. Boston: Ginn & Co. 

Public Libraries in America. By William I. Fletcher. 
Illustrated. 169 pp. Cloth, $1.00. Boston: Roberts Bros. 

Fra Paolo Sarpi. By Rev. Alexander Robertson. 196 pp. 
Cloth, $1.50. New York : Thomas Whittaker. 1894. 

Tennyson: His Art and Relation to Modern Life. 
By Stopford A. Brooke. 516 pp. Cloth, $2.00. New York: 
G. P. Putnam's Sons. 1894. 

The Story of Margr^del. By David Storrar Meldrum. 
269 pp. Paper, 50 cents. Copyright American Edition. 
New York : G. P. Putnam's Sons. 1894. 

A Practical Treatise on Nervous Exhaustion. By 
George M. Beard, A. M., M. D. 262 pp. Cloth, I2.75. 
New York : E. B. Treat. 1894. 

Outlines of Practical Hygiene. By C. Oilman Currier, 
M. D. 468 pp. Cloth, $2.75. New York: E. B. Treat. 

The Flower of Forgiveness. By Flora Annie Steel. 355 
pp. Cloth, $1.00. New York: Macmillan & Co. 1894. 

Marcella. By Mrs. Humphry Ward. Two vols. 945 
pp. Cloth, $2.00. New York : Macmillan & Co. 1894. 

BoN-MoTS OF Samuel Foote and Theodore Hook. 
Edited by Walter Jcrrold, with grotesques by Aubrey Beards- 
ley. 192 pp. Cloth, 75 cents. New York : Macmillan & 
Co. 1894. 

The Novel. What It Is. By F. Marion Crawford. With 
portrait. 108 pp. Cloth, 75 cents. New York : Mac- 
millan & Co. 1893. 

Teutonic Switzerland. By W. D. McCrackan, M. A. 315 
pp. Cloth, 75 cents. Boston : Joseph Knight Co. 1894. 

Romance Switzerland. By W. D. McCrackan, M. A. 270 
pp. Cloth, 75 cents. Boston : Joseph Knight Co. 1894. 

Second Series of the Major in Washington City. 251 
pp. Paper, 25 cents. Chicago : F. T. Neely. 1894. 

'* In the Quarter." By Robert W. Chambers. 314 pp. 
Paper, 50 cents. Chicago : h'. T. Neely. 1894. 

The Princess of Alaska. By Richard Henry Savage. 420 
pp. Paper, 5c cents. Chicago : F. T. Neely. 1894. 

The Two-Leggbd Wolf. By N. N. Karazin. Illustrated. 
Translated from the Russian by Boris Lanin. 322 pp. 
Cloth, $[.00 ; paper, 50 cents. Chicago : Rand, McNally, & 
Co. 1894. 

Against Odds. By Lawrence L. Lynch. 272 pp. Paper, 
25 cents. Chicago : Rand, McNally, & Co. 1894. 

Observations of a Traveller. By Louis Lombard. 208 
pp. Paper, 50 cents. Utica, N. Y. : Louis Lombard. 1894. 

Observations of a Musician. By Louis Lombard. Second 
edition, augmented. 169 pp. Paper. Utica, N. Y. : Louis 
Lombard. 1894. 

Moody's New Sermons. By D. L. Moody. 161 pp. Paper, 
25 cents. New York: J. S. Ogilvie Publishing Company. 

Moody's Latest Sermons. By D, L. Moody. 156 pp. 
Paper, 25 cents. New York : J. S. Ogilvie Publishing Com- 
pany. 1894. 

Slav and Moslem. By J. Milliken Napier Brodhead. 301 
pp. Cloth. Aiken, S. C. : Aiken Publishing Co. 1894. 

Sebastian. A dramatic poem. 93 pp. Cloth. Buffalo, N. 
Y. : Charles Wells Moulton. 1894. 


How to Read. — In these days of much 
reading and little thinking, Macaulay's sug- 
gestions about reading with a purpose are 
worth reprinting and remembering. Macaulay 
says : *' When a boy I began to read very 
earnestly, but at the foot of every page which I 
read I stopped and obliged myself to give an 
account of what I had read on that page. At 
first I had to read it three or four times before 
I got my mind firmly fixed ; but I compelled 
myself to comply with the plan until now, after 
I have read it through once, I can almost recite 
it from beginning to end. It is a very simple 
habit to form in early life, and it is valuable as 
a means of making our reading serve the best 
purpose." A. T. w. 

Detroit, Mich. 



[The publisher of The Writer will send to any address a 
copy of any magazine mentioned in the following reference list 
on receipt of the amount given in parenthesis following the name 
— the amount being in each case the price of the periodical, 
witA three cenU postage added. Unless a price is given, the 

The Writer. 


^periodical must be ordered from the publication office. Readers 
-who send to the publishers of the periodicals indexed for copies 
^ containing the articles mentioned in the list will confer a favor 
' if they will mention Thb Writer when they write.] 

My First Visit to New England.— III. William Dean 
Howells. Harper's Magaxiru ( 38 c.) for July. 

Talks with Young Writers. Lippincott'' s Magazine 
•(28c.) for July. 

The Founder op the Popular Science Monthly 

• ( Edward L. Youmans). Popular Science Monthly ( 53 c. ) for 

I. Zancwill. With portrait. G. B. Burgin. Harper's 
Weekly ( 13 c. ) for June 2. 
Propessor Henry Drisler. With portrait. Henry Thur- 

- iton Peck. Harper^ s Weekly ( 13 c. ) for June 9. 

Paul du Chaillu. Portrait. Leslie's Weekly ( 13 c ) for 
May 31. 
Walter Scott, the Boy. Andrew Lang. YotUfCs 

- Companion (8c.) for May 1 7. 

Emerson's Meeting with De Quincey. " P. L." Re- 
. printed from Blackwood's Magazine in Eclectic ( 48 c. ) for 

Quotation. Reprinted from Temple Bar in Eclectic 
( 48 c. ) for June. 

Tom Hood. S. Parks Cadman. Godey*s Magazine {zi c. ) 
for June. 

Vertical vs. Slope Writing. Boston Herald lot June 20. 

A Poet Astronomer (Camille Flammarion). F. L. De 
Lautreppe. Cosmopolitan ( 18 c. ) for June. 

The Modern German Drama and Its Authors. F. 
Spielhagen. Cosmopolitan ( 18 c. ) for June. 

Copying Engravings by Contact. Phcio- American 
( 13 c. ) for June. 

A Pioneer Poet (Benjamin Hathaway). With portrait. 
Helen E. Starrett. Arena (53 c. ) for June. 

Social Ideals op Victor Hugo. With frontispiece por- 
' trait. B. O. Flower. Arena (53 c. ) for June. 

Edmund Hodgson Yates. With portrait. Chicago 
Graphic ( 13 c. ) for June 2. 

Lewis Morris. With portrait. Chicago Graphic ( 13 c. ) 
for May 26. 

Harriet Bbecher Stowb. With portraits. Chicago 
Graphic (13 c.) for June 16. 

The Late J. G. Romanes. L. Dyer. A^a/i^^ic (13 c. )for 
June 7. 

William Dwight Whitney. The Nation (13 c. ) for 
June 14. 

The Nation's New Library at Washington. Albert 
Shaw. With portrait of A. R. Spofford and other illustrations. 
Review 0/ Reviews ( 28 c. ) for June. 

Some Notable Hymn Writers. Alpha G. Kynett. Peter- 
son's ( 13 c. ) for June. 

Philadelphia Journalism Eighty Years Ago. — II. 
Asa Manchester Steele. Leisure Hours (13 c.) for June. 

A War Correspondent's Narrowest Escape from 
Sudden Death. Archibald Forbes. Youth's Companion 

• ' 8 c. ) for June 14. 

The Relation op Music to Poetry in the American 
Poets. Helen A. Clarke. Music (28 c.) for June. 


WorthingtorCs Magazine, Hartford, Conn., 
is discontinued with the June number. 

D. Appleton & Co. have removed to the new 
building at the northwest corner of Fifth ave- 
nue and Thirteenth street, New York. 

The Lothrop Publishing Company, of Boston, 
has bought the plant, goodwill, accounts, copy- 
rights, and stock of the D. Lothrop Company, 
D. Lothrop & Co., and the Inter-state Publish- 
ing Company. Edmund H. Pennell is its presi- 
dent, Frank M. Hoyt is vice-president, and 
Harry E. Morrell is treasurer. All have been 
for many years associated with the D. Lothrop 
Company. The new house is located at 114-120 
Purchase street, Boston. 

Charles Scribner*s Sons have finished their 
removal from 743 and 745 Broadway, New 
York, to their new building, 1 51-155 Fifth ave- 
nue, between Twenty-first and Twenty-second 

The Bookman, which has been a success in 
London, is to have an American edition. 

Dr. Oliver Wendell Holmes has gone to his 
summer home at Beverly Farms. 

W. D. Howells and his daughter sailed for 
Europe June 2. 

Mrs. M. French-Sheldon sailed for Europe 
from New York June 23. 

Baron Nils Posse before leaving for Europe 
completed the revision of his '* Educational 
Gymnastics," which will be issued soon by Lee 
& Shepard, under the title of " Special Kinesi- 
ology of Educational Gymnastics." It will be 
the most complete work on the subject in the 
English language. 

William T. Adams ("Oliver Optic") has 
engaged his passage for his annual trip to 
Europe about July i. Mr. Adams has been 
at work until recently on the new volume of the 
All-Overthe-World Library, entitled *' Up and 
Down the Nile," and having completed the story, 
means to recuperate by a short sojourn abroad. 

Rev. C. Ellis Stevens, LL. D., D. C. L., 
author of " Sources of the; Constitution of the 
United States," a book now attracting attention 
as answering Douglas Campbell, is an Amer- 
ican by birth and descent, and not an English- 
man, as some of the reviewers declare. He is 
rector of Christ church, Philadelphia, the old 
church of Washington and Franklin. 


The Writer. 

William Waldorf Astor has contracted to pay 
Robert Louis Stevenson £2,Sso ($14,250) for 
the serial rights of his next novel of 110,000 
words, which is not yet written. It is intended 
exclusively for the Pa// Ma// Magazitie* A 
complete edition of the writings of Stevenson 
is soon to be published in England in twenty 
octavo volumes. It is to be a subscription 
edition of only signed copies. 

The first prize of $100 offered by the Domi- 
nant ( Philadelphia) for the best words for a 
patriotic song has been awarded to Osman C. 
Hooper, and the second prize of $50 has been 
awarded to Thomas J. Duggan. The Dominant 
now offers a prize of $100 for the best musical 
setting of each poem. 

Harriet Beecher Stowe was nominally eighty- 
two years of age June 14, but, according to the 
Hartford Times^ she was really eighty-three. 
It explains the matter thus: "The T/'w^j has 
once before stated that the biographies and 
cyclopaedias are all in error as to the year of 
her birth, and also concerning the natal year of 
Henry Ward Beecher. Both are published as 
having been born one year later than they 
actually were. A consultation of * the old 
family Bible* settles it; Mrs. Stowe was born 
in 181 1 and Henry Ward in 1813. The famous 
author is in her customary state of good physi- 
cal health, and is cheerful as ever, though her 
mental state is, and has been for several years, 
not what it used to be." 

The short prize story, "The Crisis of a Soul," 
by Mrs. Lydia Hoyt Farmer, published in the 
New York Observer for June 14, depicts the 
temptations which beset the author to cater to 
the debased public taste in literature. The 
hero of the story, finding his moral writings un- 
available, succumbs to the temptation of gain- 
ing fame and fortune by realistic portrayals of 
crime and vice. His remorseful horror as he 
views in a dream the awful results of such per- 
nicious books in the wrecked lives of men and 
women, and his triumphant sacrifice for con- 
science' sake, are described in graphic style. 

Miss Bettie Garland, of Clerksville, Tenn., is 
the winner of the prize in the poem contest 
conducted by the SoutJiern Magazine ( Louis- 
vlJIeJ. There ivere joo competitors. 

The frontispiece of the Magazine of Art 
( New York ) for July is an original etching of 
" Lord Byron's View, Harrow," by Francis 
Walker, A. R. P. E "Some Portraits of 
Byron," by F. G. Kilton, in the same number, 
has eight interesting illustrations. 

In McC/ure's Magazine for July appears the 
story of the literary life of Daudet, told by him- 
self, and illustrated with portraits of Daudet 
and views of his town and country homes. The 
"Human Documents" includes a series of 
portraits of Captain Charles King. 

Ibsen confesses that he cannot write with 
any inspiration without a tray before him which 
contains a little bear in wood, a little black 
devil holding a wax candle, and several rabbits 
and cats made of copper. " This may appear 
to you to be ridiculous," said Ibsen, "but so it 
is. As to the use I make of them, that is my 
secret, and I shall not divulge it to you or to 
any one else." 

The service done by Lady Mary Wortley 
Montagu in introducing the custom of inocu- 
lating for smallpox into England is described 
by Mrs. H. M. Plunkett in an interesting article 
in the Popu/ar Science Month/y for July. In 
the same number Professor James Sully has 
the first of half a dozen papers on " Studies of 
Childhood," the subject of imagination beiag 
first treated. 

The public has learned Lowell's estimate of 
Mr. Howells through the delightful volumes of 
letters edited by the friend of both, Professor 
Charles Eliot Norton. Mr. Howells' first im- 
pressions of Lowell are given in his delightful 
" First Visit to New England," now being pub- 
lished in Harper^ s Magazine, In the July 
number the novelist describes a dinner at Par- 
ker's, in Boston, at which Lowell's guests were 
Dr. Holmes, James T. Fields, and the future 
chronicler of the event. 

Julian Hawthorne has recently bought a large 
farm in the mountains of Jamaica, where he in- 
tends to raise fruit and early vegetables for the 
northern markets. He has also rented a most 
beautiful residence, Mona, on a coffee estate 
near Kingston. 

Professor W. D. Whitney, of Yale University,, 
died at New Haven June 10, aged sixty-six. 




Vol. VII. 


No. 8. 

Entered at the Boston Post-office as second-class mail matter. 


Hints on Play-writing. Edward Kir kland Cowmg: 113 

What Is Mental Dvspkpsia? Bertha P. Herrick. . 114 

Katb Chopin. 19^ illiam Schuyler 115 

Editorial 118 

Illustrations That Do Not Illustrate 118 

In Dsfbncs of the Illustr.\tor. IV. G, Dennison. . 119 

Queries 119 

The Scrap Basket 120 

Newspaper Engush Edited 120 

Book Reviews 120 

Helpful Hint| and Suggestions 123 

A Good Paste 122 

Literary Articles in Periodicals 123 

News and Notes 124 


Just as religious enthusiasts spring to their 
feet and relate their experiences for the general 
good, so allow me to give briefly some informa- 
tion about the art of play-writing. 

Of untold assistance to the playwright is a 
detailed knowledge of the plot, which should 
be thoroughly outlined before he composes one 
word of the play. 

In most cases the dialogue will be suggested 
by the incidents of the plot as they unfold 

Omit all attempts at fancy writing, and pre- 
sent each idea with the greatest clearness as 
well as force. 

When at work, always try to retain complete 
control of your best judgment, lest it err 
through yielding to the excitement of the stir- 
ring incidents with which you are dealing. 

If a point be reached where there is much 
indecision as to the next step, do not resort to 
some lazy expedient to get you out of the 

trouble, but think until the difficulty has been 

Do not feel certain that, because your play 
reads smoothly, it will, consequently, be success- 
ful as a dramatic work, for most of the best 
plays read poorly, owing to frequent interrup- 
tions caused by the interspersion of business 
and stage directions, which help to interpret the 
lines when the play is presented. 

A play should be all action. Movement is 
not necessarily action, for much action may be 
suggested by a properly inflected sentence ; 
while a scene full of action may be created by 
a person looking in through a stage window, for 
instance, and uttering exclamations descriptive 
of what is occurring in the room, but out of 
sight of the audience. 

Try to acquire a definite idea of the proper 
proportions of the gay and the solemn, just as 
an artist does of light and shade, not permitting 
too great a predominance of either, yet dispos- 
ing each so as to produce the best efiEects. 

Avoid having similar scenes, dialogues, or 
groups of characters follow each other too 
closely, as an audience quickly becomes wearied 
by sameness. 

It is well to remember that an element of 
suspense is most desirable, and if you withhold 
until the last moment the explanation of some 
important point, the audience will be less likely 
to disturb the final tableau by reaching after 
coats and hats. 

Bear in mind that there is an absolute neces- 
sity for supplying the strongest possible motives 
for all important actions and of revealing them 
at the proper moment. 

Think of the main climax of your play as the 
peak of a mountain. All that precedes it must 

Copvright.^894, by William H. Hills. All righu reterrad. 



lead the audience, by pleasing stages, directly 
up to it. All that follows must conduct them 
once more by gradual descent to the level 
ground on the opposite side. 

In conclusion, permit me to liken a good play 
to a beautiful mosaic, combining many thou- 
sands of little details, within the limits of a 

prescribed frame. Unexpected, though pleas- 
ing, combinations are observable upon each 
fresh inspection, while at the same time all its 
minute parts are so deftly and artistically 
arranged that distance serves only to enhance 
its perfection. Edward Kirkland Cowing, 
Nbw York, N. Y. 


In the rush and competition of modern life, 
when the country is flooded with literature, 
good, bad, and indifferent; when free libraries 
are found in every town and city, and paper 
books may be purchased for the price of a ferry- 
ticket, there has arisen a peculiar malady, 
which is popularly known as "mental dyspep- 
sia." The causes are over-application, in the 
widest sense, and desultory or ill-chosen read- 
ing; the effects are brain-tire and confusion; 
and the cure is reduction, or regulation in men- 
tal diet. 

George Eliot strikes the key-note of the hour 
when she observes in " Middlemarch," ** It 
seems as if people were worn out on the way to 
great thoughts, and could never enjoy them, be- 
cause they are too tired." 

While brain exercise conduces to longevity 
and happiness, the quantity and quality should 
be taken into consideration ; for, as has been 
well said, ** It is not what we eat, but what we 
digest, that makes us strong ; not what we read, 
but what we remember, that makes us wise." 

For every hour spent with a book many 
scholars recommend another hour of thought ; 
as by gradual and persistent training the mind 
may become a storehouse of facts and fancies, 
from which supplies may be drawn in leisure 
moments, crowding out the common-place and 

" Memory," said the schoolboy, " is what you 
forget with." It is impossible to remember 
^verjthing, and much may be profitably forgot- 

ten ; while the wheat should be separated from 
the chaff by judicious skipping. 

Valuable aids to recollection are found in 
strict attention to the text and review, however 
slight, of the subject under consideration. By 
way of illustration of this point, let any one 
skim lightly through a number of topics some- 
thing like the following: "Are Our College 
Graduates Fitted for the Battle of Life 1 " " The 
Language of Monkeys," " What is Buddhism } " 
" How to Renovate Old Mahogany," "A Charm- 
ing Costume for a Debutante," " Some Remarks 
on the Occultation of Orion," "An Old-fash- 
ioned Recipe for Molasses Pie," and " The 
Seal-fisheries of Alaska." Nine times out of 
ten he will say that there is "no news," or, "I 
have read until I am dizzy, but I cannot remem- 
ber a single thing." 

It is undesirable to " run through " an encyclo- 
paedia or reference-book, merely for the sake of 
killing time ; to begin a book in the middle, or to 
"read one backward," chapter by chapter, as 
some people have actually been known to do. 
An ignoramus once remarked that "the dic- 
tionary was an exceedingly interesting work ; 
but the ideas were rather disconnected." The 
taking of notes or memoranda is often carried 
to excess ; but, in its place, the habit is of im- 
portant service. 

Every one, poor or rich, has some time to 
read. Not a few of the world's greatest schol- 
ars studied in stolen moments, over the anvil, 
the counter, or the shoemaker's bench. In the 

The Writer. 


course of a few years a woman ooce learned 
.^even languages while waiting, daily, for her 
kettle to boil. 

Life is too short, and good books are too 
>many, to give a place to trash, which weakens 
the mind, and renders it incapable of appreciat- 
ing the highest. While the " novel habit " is 
•undesirable, the thoughtful reading of master- 
pieces of fiction tends to broaden the mental 
•horizon, to cultivate the art of conversation, and 
to increase one's knowledge of human nature. 
Howells has described a certain class of weak 
•novels as " having a moral, minced small, thinned 
with milk and water, and flavored with sentimen- 
tality or religiosity." 

Ally sort of a story is often thought fit to put 
into a trunk on a vacation-trip ; but there are 
iplenty of books of good pure fun, such as 
" Rudder Grange " and the " Squirrel Inn," by 
Stockton, or " My Summer in a Garden," by 
•Charles Dudley Warner, which divert without 

Occasionally, a book may be read several 
times with profit; or a deep book and a lighter 
one may be perused alternately. 

It has been said that every one who works 
with his brain should cultivate a plot of ground 

with his own hands. The book-worm is often 
apt to neglect his fellow-men, forgetting that 
friction with the cultivated produces a polish 
created in no other way. An interchange of 
thoughts and ideas would a£Fect his intellectual 
faculties as favorably as would an exchange of 
shells and minerals increase the value of a 
cabinet collection. 

The mind, left completely to its own society, 
tends to revolve in an ever-narrowing circle, 
and feeds upon itself. 

Sometimes the over-worked student finds 
relaxation in hobbies, in pictures, or music, or 
in poems like Tennyson's lovely " Idylls " or 
Owen Meredith's "Lucile." But the greatest 
cure for the brain-weary is to turn from the 
printed page to the wonderful book of Nature. 
Let them climb the eternal hills, and fill their 
lungs with God's free oxygen; listen to the 
song of the meadow-lark and inhale the perfume 
of the field-flower ; unravel the mysteries of 
the forests and the secrets of the sea ; and, 
with a mind expanded and a spirit elevated, 
they need not cry with Solomon : " Of making 
many books there is no end ; and much study 
is a weariness of the flesh." 

Oakland, Calif. Bertha F. Hcrrick. 


Mrs. Kate Chopin, the author of "Bayou 
Polk," was born in St. Louis in the early 'fifties 
and, as can be readily calculated, is not the 
*' young person " that many of her reviewers are 
l)ent on thinking her to be. This wrong impres- 
sion of theirs regarding her, while it is in some 
respects flattering, is one which Mrs. Chopin 
«eems anxious to correct. Her father was 
Thomas O'Flaherty, a native of Galloway, 
Ireland, and for many years a prominent mer- 
chant in St. Louis. Her mother was the 
"daughter of Wilson Faris, a Kentuckian, and 
-Athinaise Charleville, a descendant of a Hugue- 

not family which had settled in " Old Kas- 
kaskia " in the early part of the eighteenth 
century. The predominance of Celtic and the 
presence of so much French blood in Mrs. 
Chopin's ancestry may account for the delicate 
and sensuous touch and the love of art for art's 
sake which characterize all her work, and which 
are qualities foreign to most Teutonic produc- 

Her first childish impressions were gathered 
just before and during the war and in the latter 
days of slavery. Her father's house was full of 
negro servants, and the soft ct^^^Vt^x^'^O^ -^s^^^ 



patois and the quaint darkey dialect were more 
familiar to the growing child than any other 
form of speech. She also knew the faithful 
love of her negro " mammy," and saw the devo- 
tion of which the well-treated slaves were capa- 
ble during the hard times of the war, when the 
men of the family were either dead or fighting 
in the ranks of the " lost cause." 

Mrs. Chopin's girlish friends remember well 
her gifts as a teller of marvellous stories, most 
of them the impromptu flashings of childish 
imagination ; and her favorite resort was a step- 
ladder in the attic, where, wrapped in a big 
shawl in the winter, or in airy dishabille in the 
dog days, she would pore over the stacks of 
poetry and fiction which were stored there — 
the shelves of the library being reserved for 
solid and pretentious cyclopaedias and Roman 
Catholic religious works. She was not distin- 
guished as a scholar during her rather irregular 
attendance at the convent school, as she pre- 
ferred to read Walter Scott and Edmund 
Spenser to doing any sums or parsing stupid 
sentences, and only during the last two years of 
her school life did she ever do any serious 
work. Her schoolmates say that her essays 
and poetic exercises were thought to be quite 
remarkable, not only by the scholars, but even 
by the sisters ; and, perhaps, had Mrs. Chopin's 
environment been different, her genius might 
have developed twenty years sooner than it did. 

But many things occurred to turn her from 
literary ambition. At seventeen she left school 
and plunged into the whirl of fashionable life, 
for two years being one of the acknowledged 
belles of St. Louis, a favorite not only for her 
beauty, but also for her amiability of character 
and her cleverness. She was already fast acquir- 
ing that knowledge of human nature which her 
stories show, though she was then turning it to 
other than artistic triumphs. She married Mr. 
Oscar Chopin, a wealthy cotton factor of New 
Orleans, a distant connection of hers, the 
Charlevilles having hosts of " cousins " in the 
Pelican state. 

After spending some time in Europe with 

her husband, she passed the next ten years 

of her life in New Orleans, engrossed in the 

manifold duties which overpower a society 

woman and the conscientious mother of a 

large and growing family; for six children 
were born during that period. Toward the 
close of the decade, her husband gave up his 
business and removed to Natchitoches Parish, 
among the bayous of the Red River, to manage 
several plantations belonging to himself and 
his relatives. However, his life as a planter 
was short. He died in 1882, in the midst of the 
cotton harvest. 

It was then that Mrs. Chopin, having rejected 
all offers of assistance from kindly relatives, 
undertook the management of her plantations 
and developed much ability as a business 
woman. She had to carry on correspondence 
with the cotton factors in New Orleans, make 
written contracts, necessitating many personal 
interviews with the poorer Creoles, the Aca- 
dians, and the "free mulattoes," who raised the 
crop " on shares," see that the plantation store 
was well stocked, and sometimes even, in 
emergencies, keep shop herself. It was hard 
work, but in doing it she had the opportunity 
of closely observing all those oddities of 
Southern character which give so much life and 
variety to her pages. 

In the midst of all her labors she still found 
time to keep up her reading, which she had 
never abandoned, but the subjects which now 
attracted her were almost entirely scientific, 
the departments of Biology and Anthropology 
having a special interest for her. The works of 
Darwin, Huxley, and Spencer were her daily 
companions ; for the study of the human species, 
both general and particular, has always been her 
constant delight. 

After a few years, when Mrs. Chopin had not 
only straightened out her affairs, but had put 
her plantations in a flourishing condition, she 
returned to her old home, and has ever since 
made St. Louis her residence. 

Having led such a busy life on the planta- 
tion, she had learned how to economize her 
time, and all her social and household duties 
here, together with her reading, were not suffi- 
cient to occupy her mind. Then, urged by the 
advice of an intimate friend, who had been 
struck with the literary quality of some of her 
letters, she began to write, very diffidently at 
first and only for her friend's perusal, essa3rs» 
poems, and stories. Finally, she dared to send 



her productions to the magazines. With the 
exception of one beautiful little poem, they 
were promptly returned. Mrs. Chopin con- 
tends that they were properly treated, having 
been, as she says, "crude and unformed.'' 
She did not, as an unappreciated genius, 
abuse the editors, but began to study to 
better her style. In order to aid her self- 
criticism she sold and even gave away her 
productions to local periodicals, and holds that 
she learned much from seeing her work in 
" cold type.'* She wrote a long novel, ** At 
Fault," which was printed in St. Louis in 1890. 
In this somewhat imperfect work may be seen 
the germs of all she has done since. The story 
has some faults of construction, but the charac- 
ter drawing is excellent, and in the case of the 
young Creole, " Gr^goire Santien," faultless. 
During the following year she wrote a great 
number of short stories and sketches, which she 
sent about to different magazines, and the most 
of them were not returned as before. The 
Youth'' s Companion^ Harper's Young People^ 
and Wide Awake took all her children's 
stories, and the Century Magazine accepted 
" A No Account Creole,'' the longest tale in 
^* Bayou Folk." This story appeared last Janu- 
ary, after having been kept for about three 
years, and was the means of making Mrs. 
Chopin's name better known to the general 
public. In the mean time, other periodicals 
had accepted and published her work, which 
now numbers some sixty stories, and Houghton 
& Mifflin accepted the collection of twenty- 
three tales known as " Bayou Folk." 

Mrs. Chopin has also written a second novel, 
which a few favored friends have been per- 
mitted to read, and which, in the estimation of 
some, is her very strongest work. It is to be 
hoped that it will soon see the light. 

She is particularly favored in not being 
obliged to depend upon her writing for her live- 
lihood. There is, consequently, no trace of 
hack writing in any of her work. When the 
theme of a story occurs to her she writes it out 
immediately, often at one sitting, then, after a 
little, copies it out carefully, seldom making 
corrections. She never retouches after that. 

Personally, Mrs. Chopin is a most interesting 
and attractive woman. She has a charming 

face, with regular features and very expressive 
brown eyes, which show to great advantage 
beneath the beautiful hair, prematurely gray, 
which she arranges in a very becoming fashion. 
Her manner is exceedingly quiet, and one real- 
izes only afterward how many good and witty 
things she has said in the course of the conver- 

While not pretending to be a student, she 
still keeps well informed of the leading move- 
ments of the age, and in literature she decid- 
edly leans to the French school. She reads 
with pleasure Moli^re, Alphonse Daudet, and 
especially De Maupassant. Zola, in her 
opinion, while colossal in his bigness, takes 
life too clumsily and seriously, which is the 
fault she also finds with Ibsen. Americans, in 
their artistic insight and treatment, are, she 
thinks, well up with the French ; and, with the 
advantage which they enjoy of a wider and 
more variegated field for observation, would, 
perhaps, surpass them, were it not that the 
limitations imposed upon their art by their 
environment hamper a full and spontaneous 
expression. Mrs. Chopin has little to say of 
the English workers. She treats rather conde- 
scendingly a certain class of contemporary 
English women writers, whose novels are now 
the vogue. She calls them a lot of clever 
women gone wrong, and thinks that a well- 
directed course of scientific study might help to 
make clearer their vision; might, anyhow, bring 
them a little closer to Nature, with whom at 
present they seem to have not even a bowing 
acquaintance. She has great respect for Mrs. 
Humphry Ward's achievements ; but Mrs. 
Ward is, au fond, a reformer, and such ten- 
dency in a novelist she considers a crime 
against good taste — only the genius of a 
Dickens or a Thackeray can excuse it. 

From time to time Mrs. Chopin returns to 
Natchitoches to look after her business affairs, 
and also to refresh her recollections of that land 
of Creoles and 'Cadians. The people of Natchi- 
toches always receive her enthusiastically, since 
they thoroughly endorse her artistic presenta- 
tion of their locality and its population ; for Mrs. 
Chopin is not, like most prophets, without 
honor in her own country. 

St. Louis, Mo. Wiil\Q.n\. ScKv.>j\eT. 


THE Writer. 

The Writer. 

Poblkhcd monthly by The Writer Publishing Company, aSa 
Wuhington street, Rooms 9 and zo, Boston, Mass. 

WILLIAM H. HILLS. . . . Editor. 

%*Thb Wkitbr is published the first day of every month. 
It will be sent, post-paid, 0^fB Ybar for Onb Dollar. 

%* All drafts and money orders should be made payable to 
The Writer Publishing Co. Stamps, or local checks, sbotM 
not be sent in payment for subscriptions. 

%*Thb Writbr will be sent only to those who have paid for 
it in advance. Accounts cannot be opened for subscriptions, 
and names will not be entered on the list unless the subscription 
order is accompanied by a remittance. When subscriptions ex- 
pire the names of subscribers will be taken off the list unless an 
order for renewal, accompanied by remittance, is received. Due 
notice will be given to every subscriber of the expiration of his 

•«♦ No sample copies of Thb Writer will be sent free. 

•♦•The American News Company, of New York, and the 
New England News Company, of Boston, and their branches, 
are wholesale agents for Thb Writbr. It may be ordered 
from any newsdealer, or direct, by mail, from the publisher. 

•«• Everything that may be printed in the magazine will be 
written expressly for it. 

•«• Not one line of paid advertisement will be printed in Thb 
Writbr outside of the advertising pages. 

•«• Advertising rates will be sent on request. 

•«• Contributions not used will be returned, if a stamped and 
addressed envelope is enclosed. 


282 Washington street (Rooms 9 and 10), 

P. O. Box 1905. Boston, Mass. 

Vol. VII. August, 1894. 

No. 8. 

Short, practical articles on topics connected 
with literary work are always wanted for The 
Writer. Readers of the magazine are invited 
to join in making it a medium of mutual help, 
and to contribute to it any ideas that may occur 
to them. The pages of The Writer are 
always open for any one who has anything help- 
ful and practical to say. Articles should be 
closely condensed; the ideal length is about 
1,000 words. 

Illustrations are undoubtedly an essential 
part of modern literature, as Mr. Dennison 
says in his article in the present number of 
The Writer, but "illustrations" that do not 
illustrate are a torment to discriminating read- 
ers of books and magazines. In days when 
picture-making in books cost more than it does 

now, it used to be the habit of publishers to 
borrow, or hire, old woodcuts from each otber^ 
so that the same picture might possibly do ser- 
vice in several different books or periodicals — 
an of which, of course, it could' not "illustrate" 
with equal happiness. In these modern times, 
when pictures cost not so very much more than 
typesetting, there is no need of such make- 
shifts. Every publisher who illustrates an 
article can afford to illustrate it well, and if he 
has hired an artist to do the work, he will cer- 
tainly not have to pay a higher price on account 
of insisting that the artist shall read the manu- 
script he is to illustrate, before he begins to- 
draw his pictures. 

4k 4k 

That artists do not always pay this slight 
tribute to the genius of authors whose writings- 
they have been hired to adorn — possibly be- 
cause publishers do not always give them the 
opportunity — is proven every month by pic- 
tures printed in leading magazines. The Hart- 
ford Cottrant noticed some time ago that in« 
Charles Egbert Craddock's story in the Decem- 
ber Harper'' s Mr. Frost made the face and 
figure of the heroine that of a middle-aged 
woman, while the text described her as a girl 
of sixteen. In illustrating Brander Matthews' 
Manhattan vignette, "A Midsummer Mid- 
night," in Harper*s for January Mr. Smedley 
had a picture of a flame-wreathed hotel facade, 
with the hero of the story in a properly-perilous 
position, but the street below in the picture was 
altogether bare of the thick-foliaged trees which 
Mr. Matthews described so vividly in his story. 
Sometimes illustrations do not illustrate because 
one manuscript is illustrated by two or more 
artists, who do not make the necessary consul- 
tations with each other. In a story published 
recently in one of the leading magazines the 
scene is played in one act and the characters 
do not leave the room. In the first picture the 
heroine has on a walking costume and a sailor 
hat; in the next — and remember she does not 
leave her seat or the society of her lover — 
she has on a calling gown of silk and furbelows 
and a bonnet. Of course, the explanation is- 
that the two pictures were drawn by different 
artists, who evidently thought that consistency 
in dressing their lay figures was a petty detail" 

The Writer. 


that might be overlooked without fear of any 
evil consequences. 


Sometimes, however, blunders of this kind 
are not due to collaboration. In Demoresfs 
Family Magazine for January the artist who 
illustrated Margaret Bisland^s story shows us a 
girl entering a doorway dressed in a plain cloth 
costume, heavily trimmed with black velvet, with 
long points running up from the bottom of the 
skirt. According to the story, the girl comes in 
and immediately seats herself, Turk-wise, before 
the fire, and the same artist — Hooper — shows 
her there in a dotted India silk costume, with two 
little ruffles on the skirt and a little shoulder 
cape of velvet. Perhaps Mr. Hooper thought 
that as Demoresfs is primarily a fashion mag- 
azine the more costumes he could show in a 
given space, the better, but his author does n't 
allow time in the story even for a "lightning 

Most of us, no doubt, have felt a keen dis- 
appointment in taking up a handsome new 
illustiated edition of a favorite old book and 
finding that the artist's pictures of the fa- 
miliar characters, who have lived in our memo- 
ries so long that they are as definite personali- 
ties as those of any of our friends, are wholly 
at variance with the characters as we in our 
own minds have pictured them. That is inevi- 
table, perhaps, since no two people are likely 
to get from the description of a character the 
same idea ; but when story and pictures are 
published originally together, so that their 
impression on the reader's mind is to be sim- 
ultaneous, it certainly is not asking too much 
that the author and the artist shall agree. "Il- 
lustrations" that do not illustrate are a vexa- 
tion unto the spirit, and a sore weariness unto 
the flesh. w. h. h. 


Being interested in illustration, I read with 
interest the article on " Inconsistencies of Il- 
lustration " in the July number of The Writer. 
In defence of the illustrator, I want to say that 
in nine cases out of ten the person giving copy 

to the artist to illustrate does not have any 
definite idea of what is desired, and it is little 
wonder that the illustrator does not get the 
same idea that the author afterward conceives. 

The question is asked, " Cannot the author, 
then, in justice demand that his work be ex- 
empt from all attempts at illustrations?" De- 
cidedly, no! Have not our great American 
publishers found that illustration pays ? Take, 
for instance, the house of Harper & Bros., and 
watch the publications which it places on the 
market and you may count on your fingers the 
number of works issued without illustrations. 

Again, take one example among the great 
writers. Did not Dickens believe in illustra- 
tions ? His works would lead one to say, yes. 

It is unjust to judge all illustrators by the 
failure of one. Illustrations are absolutely nec- 
essary to the success of many books, and their 
drawings are to the monotonous pages of plain 
type as a sunny day in the middle of a rainy 

The illustrator has a decided place on the 
publisher's staff, and without his drawings liter- 
ature would be less attractive. 

W. G. Dennison. 

Boston, Mass. 


[ Questions relating to literary work or literary topics will be 
answered in this department. Questions mustAbe brief, and 
of general interest. Questions on general topics should be 
directed elsewhere.] 

Will you kindly give the list of objectionable 
words and phrases prepared for the use of the 
students at Wellesley College some time ago, 
and also Bryant's index expurgatorius of words ? 

R. s. T. 

[The list of *' words, phrases, and expres- 
sions to be avoided," prepared for the benefit 
of the students at Wellesley College, is as fol- 
lows : — 

" Guess " for " suppose " or " think." 

" Fix " for " arrange " or "prepare." 

" Ride " and *' drive " interchangeably. 

( Americanism. ) 

** Real " as .an adverb, in expressions " real 

good " for " really " or " very good," etc. 

'* Some " or *' any " in an adverbial sense ; 

e, g,, " I have studied some " for ** somewhat," 

" I have not studied any " for " at all." 



"Storms" for it "rains" or " snows " mod- 

" Some " ten days for " about " ten days. 

" Not as " I know, for ♦* that " I know. 

** Try " an experiment for " make " an experi- 

Singular subject with contracted plural verb, 
e. g.^ "She don't skate well." 

Plural pronoun with singular antecedent. 
Every " man " or " woman " should do " their " 
duty ; or, if you look " any one " straight in 
the face, " they " will flinch. 

" Expect" for "suspect." 

" First rate " as an adverb. 

" Nice," indiscriminately. 

" Had " rather for " would " rather. 

" Had " better for " would " better. 

" Right away " for " immediately." 

" Party " for " person." 

" Promise " for " assure." 

" Posted " for " informed." 

" Post graduate" for "graduate." 

" Depot " for " station." 

" Stopping " for " staying." 

Try " and " go for try " to " go. 

Try " and " do for try " to " do. 

" Cunning " for " smart," " dainty." 

" Cute " for " acute." 

" Funny " for " odd " or " unusual." 

" Above " for " foregoing," " more than," or 
" beyond." 

Does it look " good " enough for " well " 

The matter " of " for the matter " with." 

" Like " I do for " as " I do. 

Not " as good " for not " so good" as. 

Feel " badly " for feel " bad." 

Feel "good " for feel " well." 

" Between " seven for " among" seven. 

Seldom "or" ever for seldom "if" ever or 
"seldom or never." 

Taste and smell "of " when used transitively. 

More than you think "for" for "more than 
you think." 

" These " kind for " this " kind. 

" Nicely " in response to an inquiry. 

" Healthy " for " wholesome." 

Just as " soon " for just as " lief." 

" Kind of," to indicate a moderate degree. 

The editor of The Writer has not Bryant's 
list at hand. Can any of the readers of the 
magazine supply it. -^ — w. h. h.] 


In answer to the inquiry made by " N. H." 
on page 72 of the June Writer : J. F. Waller 
is the author of the pleasing poem " Magda- 
lena ; or. The Spanish Duel." It is in " Cum- 

nock's Choice Readings," sold by Jansen, Mc- 

Clurg, & Co., Chicago. 

H, George Schuette. 

Manitowoc, Wis. 


Beside this, none of the 
routes come into the heart of 
the city, and hence do not 
afford opportunities for the 
most efficient system of rapid 
transit. — Boston Herald 

Beside.« this, none of the 
routes come into the heart of 
the city, and so they do not 
afford opportunities for the 
most efficient system of rapid 

In each instance, however, 
the flames were confined to 
the car where they originated 
by prompt work of firemen 
and police. — Chicago de- 

In each instance, however, 
prompt work by firemen and 
police confined the flames to 
the car in which they ori^- 


Steps into Journalism. Helps and hint? for young writers. 
By Edwin Llewellyn Shuman. 229 pp. Clotn, $1.25. 
Evanston, 111. : The Correspondence School of Journalism. 

Barring an occasional tendency to fine writ- 
ing and a little bad advice, Mr. Shuman 's book 
deserves warm commendation as the best and 
most practical general work on newspaper- 
making that has yet been published. The 
author has had a good deal of newspaper ex- 
perience, and he has in the main right ideas 
about newspaper work. Any one who reads 
his book carefully will get a very fair idea of 
how newspapers of the present day are made, 
and a good many hints, too, about the methods 
of the workers in the different departments, 
which will be of value to those who have under- 
taken, or mean to undertake, journalistic work. 
The experience of the author has been mainly 
on Chicago papers, and, while the Chicago 
papers are enterprising and bright, their stand- 
ard of journalistic ethics is not what it ought 
to be. For that reason, some of the advice 

fiven by Mr. Shuman is not the best which a 
eginner in newspaper work could receive. 
" Faking," he says, " is perhaps excusable as 
long as the imaginative writing is confined to 
non-essentials and is done by one who has in 
him at least the desire to represent the truth." 
Afterward he says: "This trick of drawing 
upon the imagination for the non-essential parts 
of an article is certainly one of the most valua- 
ble secrets of the profession at its present stage 
of development. Truth in essentials, imagina- 
tion in non-essentials, is considered a legitimate 
rule of action in every office." It may be in 
Chicago, as Mr. Shuman says, but it is not so 
in the offices of the best newspapers through- 
out the country, and in writing as he does Mr. 

The Writer. 


Shuman gives beginners distinctly bad ad- 
vice. There are plenty of reporters every- 
where who think that it is smart to "fake," 
but they are frowned upon by the best work- 
ers in the profession, and sooner or later they 
are sure to come to grief. The "faking" 
habit grows on one, and the reporter who 
begins by "faking" unessential details is 
sure to end by "faking" important facts — 
sooner or later to his own destruction. " Fak- 
ing," anyway, is only a symptom of laziness on 
•the part of the reporter. Trutli really is stranger 
and more interesting than fiction, and actualities 
will do more to make an interesting story — 
which Mr. Shuman rightly says is the para- 
inount object of the modern newspaper writer — 
than the products of the average reporter's 
imagination. Nine times out of ten the re- 
porter who "lakes" details does so only be- 
cause he is too lazy, or has not enough ability, 
to gather up the facts. 

In his indications of reporters' methods, too, 
Mr. Shuman's advice is based upon the sup- 
posed needs of Chicago journalism. There is 
absolutely no reason why a reporter anywhere 
or under any circumstances should do anything 
of which a cultivated gentleman has need to be 
ashamed, or do " impudent, prying work," which 
any man with any self-respect must heartily 
despise. For that reason, when Mr. Shuman 
speaks approvingly of the enterprise of a re- 
porter who thrusts " his No. 8 inside the door 
and prevents it from closing " when a man whom 
he wants to interview is trying to slam it in his 
face, he commends an action of which a good 
reporter would never be guilty, and which he 
would never find to be necessary if he under- 
stood his business well. 

These faults in Mr. Shuman's book, however, 
are insignificant when compared with its gen- 
eral excellence. As a means of information 
about the inside work of newspaper offices and 
of suggestions to young reporters it is generally 
trustworthy and helpful, and there is no active 
newspaper man who cannot get some benefit 
from reading it. With " Steps into Journal- 
ism " and Luce's "Writing for the Press" as 
text-books, constantly at hand for study, the be- 
ginner in journalism will be very well equipped. 

w. H. H. 

•Five Hundred Places to Sell Manuscripts. A manual 
designed for the euidance of writers in disposing of their 
work. Compiled by James Knapp Reeve. 59 pp. Board 
covers. $1.00. FrankLn, O. : The Chronicle Press. 1894. 

-The difficulty with all printed lists of " peri- 
odicals that pay contributors " is that they are 
sure to get out of date within a month or two 
after they are published, and ever after that 
they become more and more misleading, as time 
goes on, to those who depend upon them for 
-guidance in marketing their manuscripts. For 
flnstance, in this new Dook of Mr. Reeve's, the 

publishers have already found it necessary to 
cross out with a pen references to Worthing- 
ion's Magazine and Smithy Gray^ 6r* Co.s 
Monthly^ and a number of other publications 
are named which are either moribund or at least 
in such hard financial circumstances as to make 
it unprofitable for writers to try to deal with 
them. The information about the requirements 
and methods of periodicals given in such lists, 
too, is necessarily vague and unsatisfactory, in 
very many (;ases, and Mr. Reeve's list, like 
others of the kind, includes many periodicals 
that do not pay for manuscripts submitted by 
casual contributors. As a suggestion of possi- 
ble markets which might not otherwise come to 
mind, however, such books as this have value, 
and Mr. Reeve's book, though it has many 
defects, is the best one of the kind in the mar- 
ket at the present time. It must be used, how- 
ever, with caution, for the reasons that have 
been indicated. w. h. h. 

Bon-mots op Samuel Foote and Theodore Hook. Edited 
by Walter Jerrold; with grotesques by Aubrey Beardsley. 
192 pp. New York : Macmillan & Co. 1894. 

The third in the dainty little " Bon-mots " 
series is quite as attractive as its predecessors, 
devoted to Sydney Smith and Sheridan, and 
Charles Lamb and Douglas Jerrold, respectively. 
It has good etched portraits of Foote and Hook, 
and an introduction giving the essential facts 
regarding the lives of the two wits whose say- 
ings make up the body of the little volume. 
Aubrey Beardsley's drawings are ornamental 
and interesting, if not illustrative. One instruc- 
tive feature of the book is that it shows how old 
many of the new jokes published nowadays in 
the papers really are. Perhaps they were as 
old, too, when Foote and Hook made people 
laugh with them. w. h. h. 

Picturesque Berkshire. Part I., "6 pp.; Part II., 112 
pp. In one volume, cloth, $4.00. Northampton, Mass., 
Pictures^que Publishing Company ; Springfield. Mass., The 
W. F. Adams Company. 1894. 

The series of books illustrating picturesque 
New England has been enriched by the publi- 
cation of " Picturesque Berkshire," a handsome 
volume crowded with the finest half-tone pic- 
tures of scenes in Berkshire county, in the 
western part of Massachusetts. The same ex- 
quisite taste shown in the other volumes of the 
series is shown also in this new book. The 
photographs from which the illustrations have 
been made are perfect pictures of New Eng- 
land C9untry life, and they have been repro- 
duced in the highest perfection of the half-tone 
art. There are 1,200 of these fine pictures in 
the book, and there is hardly one among them 
that is not a gem. Every town in the county is 
representefd by a variety of characteristic and 
attractive views, every one of which has been 
made expressly for this work. To any who 
live, or ever have lived, in New England tKe. 


The Writer. 

volume has a special attractiveness, and those 
who are unfortunate enough to have lived else- 
where will find it a perfect panorama of New 
England country life. The letter-press, too, is 
interesting. " Picturesque Berkshire " has been 
preceded by " Picturesque Franklin," *' Pictu- 
resque Hampshire," each of one volume, and 
*' Picturesque Hampden," two volumes. All of 
these books may be obtained in Boston of 
W. B. Clarke & Co., Washington street, or of 
George E. Littlefield, (i^ Cornhill. w. h. h. 

The Book of thb Fair. An historical and descriptive pres* 
entation of the world's science, art, and industrpr, as viewed 
through the Columbian Exposition at Chicago in 1893. By 
Hubert Howe Bancroft. JPart X. 40 pp. Paper, $1.00. 
Chicago and San Francisco : The Bancroft Company. 1S94. 

In part ten of the Bancroft "Book of the 
Fair," chapter thirteen, describing and illus- 
trating the Agricultural building at Chicago 
and its exhibits, is concluded, and chapter four- 
teen, devoted to the electrical exhibits, is be- 
gun. Besides the many smaller illustrations, 
there are six full-page half-tone pictures in the 
number, showing the grand basin and court of 
honor, the Columbus arch of the peristvle, the 
reaper exhibit in the Agricultural building, ad- 
ministration plaza on Chicagjo day, a view up 
the east lagoon, and the illumination of the 
court of honor. w. H. H. 

" Common Sense " Applied to Woman Suffrage. By 
Mary Putnam-Jacobi, M. D. 336 pp. Cloth, $1.00. New 
York : G. P. Putnam's Sons. 1894. 

Dr. Jacobins book, according to its sub-title, 
is "a statement of the reasons which justify 
the demand to extend the suffrage to women, 
with consideration of the arguments against 
such enfranchisement, and with special refer- 
ence to the issues presented to the New York 
state convention of 1894." After an introduc- 
tory chapter come sections entitled " Evolu- 
tion of Status of Women Since 1848," "Immi- 
nence of Woman Suffrage," ** Existing Political 
Situation," *' Arguments of Opponents," "Al- 
leged Inexperience of Women,"" Public Meas- 
ures in which Women May Be Interested," 
"The American Discovery — Webster and 
Madison," and "The Existing Situation." An 
appendix gives the author's recent address 
before the New York constitutional convention. 

w. H. H. 

With the Wild Flowers from Pussy-Willow to Thistle- 
down. By E. M. Hardinge. 271 pp. Cloth, iJi.oo. New 
York: Baker & Taylor Company. 1894. 

The great merit of this book of practical 
botany is that the flowers and plants mentioned 
in it are spoken of in a popular way, the fewest 
possible technical terms being used. As the 
author says in her preface : " When one has 
been compelled to learn that a rose belongs to 
the series Pha;nogams, class dicotyledons, sub- 
class angiosperms, division polypetalous, and 
order Rosaceae, it does not thereafter smell 

quite so sweet — Shakespeare to the contrary- 
notwithstanding." " The student," she adds^ 
" who has been compelled to learn that canescent 
means hoary, and that hypocrateriform means 
salver-shaped has been bothered to little pur^ 
pose." With this in view, she has written a 
series of interesting papers on the wild flowers,, 
taking them up in the order in which they ap- 
pear from spring to fall, and speaking of them 
in terms which any one can understand. The- 
information that sne gives is accurate, and the- 
book ought to have wide popularity and sale. 

w. H. H. 


[ All books sent to the editor of The Writer will be ac- 
knowledged under this heading. They will receive such further 
notice as may be warranted by their importance to readers of 
the magazine.] 

The Island of Nantucket. What it was and what it is. 
With a correct map. Compiled by Edward K. Godfrey. 
365 pp. Paper, 50 cents. Boston : Lee & Shep<ird. 

His Will and Hers. By Dora Russell. 314 pp. Paper, 
50 cents. Chicago: Rand, McNally, & Co. 1894. 

The Abb^ Constantin. By Ludovic HaMvy. Illustrated. 
226 pp. Paper, 50 cents. Chicago: Rand, McNally, & Co. 

On a Mexican Mustang. By Alexander E. Sweet and 
J. Arnioy Knox. Illustrated. 290 pp. Paper, 25 cents. 
Chicago: Rand, McNally, & Co. 1S94. 

The Disappearance of Mr. Derwent, Bv Thomas Cobb. 
263 pp. Paper, 50 cents. Chicago : F. T. Neely. 1894. 

The Queen of Ecuador. By R. M. Manley. 331 pp. 
Paper, 50 cents. New York : The H. W. Hagemann Put>- 
lishing Company. 1894. 


[Under this heading it is intended to describe any handy 
little contrivance that may be of use in any way to literary 
workers. Facts about home-made devices particularly are de- 
sired. Paid descriptions of patented articles will not be 
printed here on any terms ; but this shall not hinder any one 
from letting others know gratuitously about any invention that 
is of more than ordinary value to literary workers. Readers of 
The Writer are urged to tell for the benefit of other readers 
what little schemes they may have devised or used to make 
their work easier or better. By a free exchange of personal 
experiences every one will be helped, and, no matter how 
simple a useful idea is, it is an advantage that ever>' one should 
know about it. Generally, the simpler the device, the greater 
is its value.] 

A Good Paste. — E. F. Phillips tells in the 
Photographic Times how to make a satisfactory 
paste, as follows : " Put two or three tea- 
spoonfuls of water, as hot as you can hold (not 
dip) your fingers in, into a clean teacup; have 
a teacupful of boiling water ready, then put in a 
heaping teaspoonful of corn starch into the 

The Writer. 


water in the teacup, stir it smooth, then pour in 

boiling water, stirring the mixture as you do so 

till it clears and turns a sort of opal blue ; now, 

if you have time, stir it till cool ; if not, sprinkle 

it with just enough cool water ( very little ) to 

prevent its skimming over, and set it aside to 

cool." A. L. 

Nbw York, N. Y. 

Preserving Magazine Articles. — In every 
magazine there are likely to be one or two ar- 
ticles that are worth preserving, even though it 
is not worth while to keep the whole magazine. 
By cutting the threads or removing the wires, 
you may easily take out the pages containing 
the articles in question, discarding the rest of 
the magazine. On the first page of each article 
should be written the name and the date of the 
periodical from which it is taken. When a 
sufficient number of such articles have col- 
lected, it is a good idea to have them bound 
together in a book, with an index on a fly-leaf 
or two at the beginning. Another good way is 
to fasten the leaves of each article together' 
with a metal clip, or even with a pin, and file 
them in pasteboard pamphlet cases, also 
properly indexed. If this is done, it is not 
necessary to take the magazine apart to get the 
articles out. By using a tin strip, such as busi- 
ness men use for tearing out checks, with a 
little care you can tear out six or seven pages 
of a magazine at a time, making the edge of the 
inner margin smooth and even, and defacing 
the magazine as little as is possible. Any hos- 
pital will be glad to get what is left of the 
magazine. T. r. w. 

Nbw York, N. Y. 


[The publisher of Thb Writbr will send to any address a 
copy of any magaiine mentioned in the following reference list 
on receipt of the amount given in parenthesis following the name 
— the amount being in each case the price of the periodical, 
with thrgg ctnts postage added. Unless a price is given, the 
periodical must be ordered from the publication office. Readers 
who send to the publishers of the periodicals indexed for copies 
containing the articles mentioned in the list will confer a favor 
if they will mention Thb Writbr when they write.] 

Mv First Book. A. Conan Doyle. McClure*s Magazine 
( z8 c. ) for August. 

Nbwspapbr " Faking.*' George Grantham Bain. Lippin- 
cotfs ( 28 c. ) for August. 

Distribution of Govbrnmbnt Publications. Edward S. 
Morse. Popular Science Monthly ( 53 c. ) for August. 

On Accuracy in Obsbrvation. H. Littlewood, F. R. C. S.. 
Popular Science Monthly ( 53 c. ) for August. 

WiLLiAMi Ma»tiibw Williams. With portrait. Popnlav 
Science Monthly ( 53 c. ) for August. 

Thb Editor's Story. Richard Harding Davis. Harper* r 
( 38 c. ) for August. 

Chaptbrs in Journalism. Geoi^e W. Smalley. Harper's^ 
( 38 c. ) for August. 

My First Visit to New England. — IV. William D. 
Howells. Harper"* s (38 c.) for August. 

Vulgarity in Fiction. Charles Dudley Warner. Editor's- 
Study. Harper's ( 38 c. )<for August. 

Richard Harding Davis. Edward W. Bok. Rudyard 
Kipling. Alice Graham McCollin. John Kbndrick Bangs. 
William McKendree. Jbromb Kwata Jbromb. Frederick 
Dolman. With portraits. Ladies* Home Journal (13 c.) for 

My Literary Passions. William D. Howells. Ladies' 
Home Journal (13 c.) for August. 

The Care of Books. Domestic Monthly (18 c. ) for 

Gborgb Meredith's Novels. Emily F. Wheeler. Chan- 
tauquan (28 c.) for August. 

Jambs Fbnimore Coopbr. Illustrated from old prints. 
Brander Matthews. St. Nicholas (28 c.) for August. 

Productive Conditions of American Literature. 
Hamlin Garland. Forum (28 c.) for August. 

Letters of Sidney Lanier. — II. William R. Thayer. 
Atlantic Monthly (38 c. ) for August. 

The Mechanism of Thought. Alfred Binet. Reprinted 
from Fortnightly Review in Eclectic ( 48 c. ) for August. 

With R. L. Stevenson in Samoa. Reprinted from Corn^ 
hill Magazine in Eclectic ( 48 c. ) for August. 

Lowell's Letters to Poe. Edited by George E. Wood- 
berry. 5'£rri^«^r*j (28 c. ) for August. 

Shb and Journalism. Story. Harrison Robertson. 
Scribner s (28 c.) for August. 

The Talk in Novels. The point of view. Scribner*s 
(28 c. )for August. 


Current Literature (28 c. ) for August. 

William Allen Butlbr. Gilson Willetts. . Current 
Literature (28 c. ) for August. 

Charles Dudley Warner as a Writer of Fiction. 
With portrait. Brander Matthews. Harper^ s Weekly ( 13 c. )• 
for June 30. 

The Origin of " Ben Bolt." Harper's Weekly (13 c. ) 
for July 21. 

New York and the " Liberty of the Press." Eugene 
Lawrence. Harper^s Weekly ( 13 c. ) for July 28. 

Why Do Certain Works of Fiction Succeed ? Marion^ 
Wilcox. New Science Review ( 53 c. ) for July. 

The Novelist as a Gentleman. Book Reviews for July. 

Philadelphia Journalism Eighty Years Ago. Asa 
Manchester Steele. Leisure Hours for July. 

The Permanent in Poetry. Warren Truitt. Overland 
Monthly (28 c.) for July. 

A Proble.m in Authorship. Robert Whitaker. Overlatut 
Monthly (28 c. ) for July. 

Ruth Herrick's Assignment. A story. Elizabeth G. 
Jordan. Cosmopolitan ( 18 c. ) for July. 

In the Country of Lorna Doone. William H. Rideing. 
New England Magazine (28 c.) for July. 


The Writer. 

The First Abolition Journals. Samuel C. Williams. 
New England Magazine ( 2S c. ) for July. 

Whittier's Religion. With portrait. Rev. W. H. Sav- 
age. A rena ( 53 c. ) for July. 

In Defence of Harriet Shelley. — I. Mark Twain. 
North A tnerican Review for July. 

Alphonsb Daudbt at Home. R. H. Sherard. McClure^s 
Magazine ( 18 c. ) for July. 

Letters of Sidney Lanier. — L William R. Thayer. 
Atlantic Monthly ( 38 c. ) for July. 

The Duties of Authors. Leslie Stephen. Reprinted 
from National Review in Eclectic ( 48 c. ) for July. 

The Essay Considered from an Artistic Point of 
View. E. H. Lacon Watson. Reprinted from tVestminster 
Review in Eclectic (48 c. ) for July. 

Dramatic Criticism. W. L. Courtney. Reprinted from 
Contemporary Review in Eclectic ( 48 c. ) for July. 

A Visit to the Tennysons in 1839. Bartle Teeling. 
Reprinted from BlackwoocTs Magazine in Eclectic ( 48 c. ) for 

Technique of Pen-process Drawing. C. Ashleigh Snow. 
JVilson's Photographic Magazine ( 33 c. ) for July. 

Natural Colors in the Printing Press. Macfarlane 
Anderson. IVilsonU Photographic Magazine (33 c.) for July. 

Thomas William Parsons. Portrait. Century (38 c. ) 
for July. 

A German Comic Paper ( Fliegende Blatter). William D. 
Ellwanger and Charles Mulford Robinson. Century ( 38 c. ) 
for July. 

What Is Plagiarism? Editor's Outlo3k. Chautauquan 
(28 c. ) for July. 

My Literary Passions. William D. Howells. Ladies' 
Home Journal ( 13 c. ) for July. 

Mary Hartwell Cathbrwood. With portrait. Mary 
Merton. Ladies^ Home Journal (13 c.) for July. 

The New York Authors Club. Gilson Willetts. Godey*s 
< 13 c. ) for July. 

Miss Maibelle Justice ("Paul Savage"). With por- 
trait. Boston Ideas for June 17. 

Mrs. Ruth McEnery Stuart. Arthur Stedman. 
Augusta ( Ga. ) Chronicle lor July 1. 

E. L. GoDKiN. Portrait. Town Topics for July 5. 

Errors ok Authors. Reprinted from St. Louis Globe- 
Dentocra{ in Chicago Herald for J uly 7. 

Martha McCulloch Williams. New York Morning 
Journal iox July 8. 

John Stuart Blackie at Home. Arthur Warren. Bos- 
ton Herald for July 8. 

George Du Maurier. Omaha World-Herald for July 8. 

Bryant's Home at Cummington. Springfield Union for 
July 10. 

Mrs. Lydia Hoyt Farmer. Manchester ( N. H. ) Mirror 
for July II. 

A Word with the Amateur Writer. Paul Siegfolk. 
New York Home Journal lor July 11. 

A Good Literary Style. Mrs. Helen E. Starrett. Chi- 
cago Interior for July 12. 

In A D. Coolbrith. Chicago Post for July 14. 

A Visit to the Home of George MacDonald. H. M. 
Barbour. Churchman lo" 'uly 14. 

George R. Graham. Philadelphia Telegraph for July 14. 

Bret Hartb. Edward Marshall. Galveston News for 
July 15. 

George Du Maurier. Kansas City Star for July 15. 

Msjv Who Makb Jokbs. Chicago Post for July 16. 

Helkn Watterson Moody. Narcisse Jarvis. Portland 
( Me. ) Argus for July 16. 

Henry Greville. New York Home Journal ior July 18. 

The Novelist's Art of Characterization. H. H. 
Boyesen. Independent for July 19. 

Thrums and Barrie. Springjield ( Mass. ) Homestead 
for July 21. 

A Talk with Paul Heyse. With portrait. Countess 
von Krockow. Outlook for July 21. 

The Bryant Centennial. Arthur Stedman. Boston 
Herald for July 22. 

Stevenson in Samoa. Will M. Clemens. Philadelphia 
Times for July 22. 

On Some Methods of Suppression and Modification 
IN Pictorial Photography. Reprinted from the Studio in 
Photographic Times ( 18 c. ) for July 27. 

Wagner as a Writer. Gustav Kobb^. Outlook for 
July 28. 

American Humor. M. P. Pendleton. Outlook for July a8. 


Dr. Frederic M. Bird is the new editor of 
Lippincotfs Magazine, 

The hundredth anniversary of the birth of 
William CuUen Bryant will be celebrated on 
the Hampshire hills, August i6. November 3 
is the date of the poet's birth, but the earlier 
date was fixed in order to secure a better at- 

The Californian Magazine is dead, the April 
number having been the last one published. 

E. C. Allen & Co., of Augusta, Me., pub- 
lishers of twelve papers, having together a cir- 
culation of more than 1,000,000 copies a month, 
announced in July that they would go out of 
business July 31. Since then the business has 
been sold to one of their employees. 

Fred C. Laird and W. H. Lee, of Chicago, 
have dissolved their co-partnership, and W. H. 
Lee will continue the business alone, under the 
name of Laird & Lee. 

The Photo-Electro Engraving Co., of Boston, 
has been combined with the Suffolk Engraving 
Co., and the consolidated establishment will 
have its office hereafter at 275 Washington 

Publisher J. G. Cupples, of Boston, has asso- 
ciated himself with H. W. Patterson, and the 
firm name hereafter will be Cupples & Patter- 
son. The new partner is a young man of means 
and executive ability. 

The Writer. 


Lorio F. D eland, husband of Mrs. Margaret 
Deland, has succeeded Dexter Smith as the 
editor of the Musical Record^ Boston. 

Mrs. Mary E. Blake ("M. E. B.") sailed 
for Europe with two of her children July 7. 

Mrs. Mary J. Serrano, the translator, has 
sailed for France, and will remain abroad dur- 
ing the next three months. Her journey will 
take her to Rome, Florence, Paris, and Venice . 

"Larry" Chittenden, the "poet ranchman," 
of Chittenden's ranch, Anson, Texas, sailed for 
Europe July 20, to be gone two months. Mr. 
Chittenden's trip is made in the interest of sev- 
eral Western newspapers and syndicates. His 
book, " Ranch Verses," which has run through 
two editions, will appear in a new third edition 
in the fall. Mr. Chittenden's Texas friends are 
urging him to accept a nomination for congress. 

Mr. and Mrs. Thomas Bailey Aldrich are at 
their new cottage in Tenant's Harbor, Me., for 
the summer. 

Thomas A. Janvier intends to take a trip to 
the other side, to be gone until autumn. 

Professor Hjalmar Hjorth Boyesen is spend- 
ing the summer at jjiis cottage at Southamp- 
ton, L. I. 

Henry Goelet McVicar is spending the sum- 
mer on the Continent. 

Professor Mc Master is staying at Kenne- 

Edgar Stanton Maclay is in New York City 
finishing the proofs of Volume II. of his 
" History of the United States Navy." 

Professor N. S. Shaler is at his country 
place on Martha's Vineyard. 

Rudyard Kipling has settled for the summe r 
in Tisbury, Wiltshire, England. 

Mrs. Frances Hodgson Burnett and Mrs. 
Louise Chandler Moulton are spending the 
summer in England. Mrs. Burnett has re- 
opened her house in Portland place, and Mrs. 
Moulton has returned to the home she has 
made for herself during the dozen or so years 
of her summer residence in London. 

J. M. Barrie is to marry Miss Mary Ansell, 
who played a part in his play, " Walker, Lon- 
don," at Toole's Theatre. 

Kirk Munroe, the author of the " Mate " 
stories, and of "The Fur-Seal's Tooth," now 
running in Harper^s Young People^ recently 
arrived in New York for his annual sojourn in 
the North during the summer months. The 
winter and much of the spring and autumn he 
spends at Cocoanut Grove, on the Atlantic 
coast of southern Florida. 

Professor James Ford Rhodes, the historian, 
is at Rye Beach, where he is engaged in com- 
pleting the third volume of his history of the 
United States. 

Miss Anne H. Wharton, of Philadelphia, is 
in Boston making researches and gathering 
material for a book, which will treat largely of 
colonial life. 

Howard Pyle is staying in Ambassador 
Bayard's colonial mansion near Wilmington, 
Del. He usually spends his summers at his 
cottage at Rehoboth, below Cape Henlopen. 

Julian Hawthorne, who went with his wife 
and seven children to Jamaica some months 
ago, writes back that he has concluded to pass 
the rest of his life there. He is located on a 
plantation near Kingston and growing orange 
and citron trees and coffee, and incidentally 
writing something which he hopes " will inter- 
est our great-grandchildren " even. 

Tone-color has been defined as the quality of 
vowels and consonants which best adapt them 
to the vocal presentation of thought and 

Langdon Elwyn Mitchell, author of " Sylvian, 
and Other Poems," and of a new book of poems 
published by Houghton, Mifflin, & Co., is a son 
of Dr. S. Weir Mitchell, of Philadelphia. 

George W. Smalley, the London representa- 
tive of the New York Tribune^ in an interesting 
article in the August Harper's traces the origin 
of the modern newspaper correspondent, and 
iUustrates his points with anecdotes based on 
personal experience. 

New York is to have a new magazine, the 
purpose of which is to cater to the literary and 
alma mater news wants of college graduates. 
It will be edited by John Seymour Wood, of 
Yale, and Walter Camp will have charge of: 
the athletic departmtnl* 


The Writer. 

The Bow-Knot Publishing Company, of 
Chicago, — regarding the financial standing of 
which The Writer is not informed, — offers 
$2,000 for the four best works of fiction sent to 
it before December 31, 1894, the prizes to be 
$ 1 ,000, $500, $300, and J200, respectively. The 
books must contain between 60,000 and 80,000 
words, and will be judged on their merits, the 
author sending his name in a sealed envelope. 
The company will publish the successful books 
and allow the authors ten per cent, on the retail 
sales in addition to the prizes. Professor 
Albert Alberg, of London, Eng. ; Miss Minna 
Irving, of Tarry town, N. Y. ; and Colonel Will 
L. Visscher, editor of the Morning Union^ 
Tacoma, Wash., will be the judges. 

The Southern Magazine^ Louisville, Ky., is 
•offering prizes for the best stories by strictly 
new writers. Under its definition a "new 
writer" is one who has not had work accepted 
by the Southern Magazine^ the Century^ Har- 
J>er's, the Cosmopolitan^ Scribner'*s, Lippincotfsy 
or the Ladies' Home journal. The prizes are : 
$50 in gold for the best story, $50 for the sec- 
ond best, and $25 for the third best. Manu- 
scripts must be submitted before September i. 
Writers will be interested in another contest 
by the same magazine, for " the best photograph 
by an amateur " which most fully answers cer- 
tain special requirements. Applicants are sent 
-a written sketch, and contestants are to " photo- 
graph some scene or action of this sketch " to 
represent the central idea of the story. This 
contest serves to show a demand which writers 
•will do well to bear in mind. A practical knowl- 
edge of photography is constantlyjgrowing more 
'valuable to the all-around writer, as well as to 
■the specialist. 

Comfort is renewing its old offer of $100 a 
month in prizes for the five best stories submit- 
ted for each issue. They are graded in value, 
thus: First, $30; second, $25 ; third, $20; 
iourth, $15 ; fifth, $10. The contestant must be 
a paid-up subscriber, and must hand in two new 
subscriptions with each manuscript submitted. 
No manuscripts will be returned. Such com- 
petitive manuscripts are to be addressed : 
"Editor Nutshell Story .Club, care Comfort, 
.Augusta, Maine." 

The subscription rate of the Fourth Es- 
tate ( New York ) will be $2 a year, instead of 
$1, beginning August i. 

Romance ( New York ) has reduced its price 
from twenty-five cents f o ten cents a copy. The 
editor of Romance will not read any more manu- 
scripts till after October i . 

Godeys Magazine has reduced its price from 
twenty-five cents a number to ten cents a num- 

Miss Elsie S. Nordhoff, who has a story in 
the August Harper* Sy is a daughter of Charles 
Nordhoff, the correspondent. 

Dr. Wolfred Nelson, whose " Five Years at 
Panama " is the standard book relating to the 
isthmus, has been elected a fellow of the Royal 
Geographical Society of Great Britain. 

Octave Uzanne has a fanciful story in Scrib- 
ner*s for August, entitled " The End of Books," 
and describing the impending condition of 
affairs when all books and newspapers will be 
produced by phonographs instead of by type — 
with the accompanying changes in the art of 
binding, editing, bookselling, etc. A number of 
letters written by James Russell Lowell to Poe 
in 1 842-1 844 are printed in the same number, 
together with a story, " She and Journalism," by 
Harrison Robertson, one of the editors of the 
Louisville Courier-yournal, 

The Review of Reviews for July has portraits 
of Sir Isaac Pitman, Professor William D. 
Whitney, Professor Henry Morley, and Ed- 
mund Yates. 

The Quarterly Illustrator (New York ) for 
July-September contains 362 illustrations by 
more than 150 well-known artists, whose names 
and addresses are indexed alphabetically. There 
are also eighteen portraits of American artists 
and portraits of some foreign artists. The 
letter-press is full of interest. 

There have been various claimants of the 
celebrity of being " the first woman writer for 
the daily press." The latest of them is Mrs. 
Lynn Linton, the novelist, who says that when 
she was twenty-three years old she was on the 
staff of the London Morning Chronicle, Mrs. 
Linton has produced forty novels in the forty- 
six years of her literary career. 

The Writer. 


The London Sketch prints this notice in a 
Tecent issue : "To Authors and Others; It is 
particularly requested that no further poems or 
short stories be sent to the Sketchy as the editor 
has a supply sufficient to last him well into the 
twentieth century^" 

Norman Gale is preparing an anthology based 
•on a very novel and remarkable principle. It 
is to be a selection from the works of living 
poets under forty years of age. 

A writer in the Philadelphia Inquirer learns 
irom an old account book belonging to Gra- 
JianCs Magazine that Edgar Allen Poe was 
.paid $52 for his story, "The Gold Bug." 

Much has been printed lately of the remarka- 
ble collection of miniature books belonging to 
the French collector, Georges Salomon. He 
has more than 700 such tiny volumes, the larg- 
est measuring two inches by one and one-eighth 
inches, and the smallest, a French edition of 
the *' Chemin de la Croix," which has 1 19 pages, 
being half an inch long by three-eighths of an 
'inch wide. All the books are exquisitely bound. 

Lorimer Stoddard, the son of R. H. Stoddard, 
the poet, has had poems published in the Cos- 
mopolitan^ the Independent^ and other periodi- 
cals. Young Mr. Stoddard has also written 
several plays. 

The Philadelphia Record says that Miss 
Agnes Repplier, who is now visiting London, 
has become quite a literary lion in that city. 
Andrew Lang has given a dinner party in her 
honor, among the guests being Professor Max 
Miiller. Mrs. Humphry Ward has also enter- 
tained her at an "at home," and has spent 
some time in her company. 

It is interesting to hear what Miss Beatrice 
Harraden tells of the publishers. " I had piles 
of rejected manuscripts," she says. " I wrote 
story after story for Blackwood's^ and all of 
them came back to me, though the editor 
always sent a note, begging me to try again. 
After a while I met Mrs. Lynn Linton and Mrs. 
William Blackwood. They gave me the bene- 
fit of intelligence and sympathetic criticism, 
and then my stories began to get into print." 

McC lure's Magazine for August has a por- 
trait of Dr. Washington Gladden. 

A new biography of the Brontes is being pre- 
pared under the joint collaboration of Clement 
Shorter, of the Illustrated London News and 
the English Illustrated Magazine ^ and Dr. 
Robertson Nicoll, of the Bookman and the 
British Weekly. 

" Several writers of repute," says the A then- 
CBum^ " are paid at the rate of $60 a thousand 
words for their short stories, but no novelist, we 
believe, has received so much for his serial rights 
as the editors of the Pall Mall Magazine have 
paid George Meredith for * Lord Ormont and 
His Aminta.' The price, it is said on the best 
authority, was $50 a thousand words." 

Janet Buchanan, of Le Mars, Iowa, won the 
prize for the best short story offered by the 
Midland Monthly of Des Moines. There were 
eighty-four contestants. 

Edith M. Arnold, author of "Platonics," 
published by Dodd, Mead, & Co., is a sister to 
Mrs. Humphry Ward. 

Lloyd Osborne, the collaborator with Robert 
Louis Stevenson in "The Ebb-Tide," which 
has just come to a conclusion in McClure^s 
Magazine^ is the novelist's stepson. Mrs. 
Stevenson, who is also a writer of no little 
fame, was married first to Samuel Osborne, a 
Californian, from whom she obtained a divorce 
when her son Lloyd was a baby. Her second 
marriage is a very happy one, Stevenson being 
a devotedly kind husband and father. 

The cost of each number of the Centnrv 
before it goes to press is $10,000 for contribu- 
tions and pictures alone. Frank H. Scott, 
president of the Century Company, made this 
statement in a public address at the dinner of 
the Quill Club May 8. In the same address he 
said that the Century published last year 396 
articles by 324 different writers, a large part of 
whom had never before written for the maga- 
zine. He made this statement to show how 
unfounded is the belief that magazines are run 
by cliques. 

Harlan Page Halsey, better known as " Old 
Sleuth," the writer of hair-raising detective 
stories, is an active member of the Brooklyn 
board of education. His income from his 
novels is about $20^000 a.'^^^x^ 



The artist-author is becoming quite a com- 
mon factor in the literature of to-day. The list 
now includes G. H. Boughton, George Du Mau- 
rier, Frederick Remington, F. Hopkinson 
Smith, F. S. Church, Hamilton Gibson, Mr. 
Zogbaum, and Alfred Parsons. 

The publication of the July Cosmopolitan 
marks the close of the first year since the an- 
nouncement was made that the price of that 
magazine had been cut to $1.50 a year. The 
magazine printed, for the six months embraced 
in Volume XVI., 1,419,^)0 copies, an entirely un- 
approached record, and has doubled its already 
large plant of presses and binding machinery. 
The walls of the Cosmopolitan's new home are 
rapidly rising at Irvington-on-the-Hudson, and 
the new building, with its eight great porticos, 
will be 279 feet long by seventy-six feet wide, 
and one of the most perfectly lighted buildings 
in the world, having 160 large windows. Arthur 
Sherburne Hardy will continue to conduct the 
editorial affairs of the magazine in New York 

The real name of " G. Colmore," author of 
" A Daughter of Music," is Mrs. Georgia Dunn. 
She is the wife of a London barrister, Mr. Col- 
more Dunn, who lives near Hyde Park. 

About fifty years ago the Scribners were pay- 
ing $400 a year rent and had plenty of room. 
Now they occupy a building which cost them 

General Lew Wallace recently told a New 
York interviewer that he never had any idea of 
forming an American Academy of Immortals. 
The story, he says, all grew out of his giving 
to Congressman Black, of Illinois, a bill to per- 
mit fifteen men of letters of the United States 
to have the privilege of visiting the congres- 
sional library at Washington and taking what- 
ever books they desired to their rooms to study 
or collect data from. His idea was that these 
fifteen men should enjoy the privilege for life. 
At present, only congressmen can take books 
from the library. 

W. J. Linton, the English engraver, painter, 
poet, and philanthropist, who has lived in New 
Haven for a number of years, is now more than 
eighty years of age, yet is quite active in liter- 
ary research. 

"Anthony Hope's" real name is A. H- 
Hawkins. He was born in 1863, and is a- 
barrister-at-law of the Middle Temple, having 
been called in 1887. His first book, "A Man 
of Mark," was published in 1890; *' Father 
Stafford," in 1891 ; "Mr. Witts' Widow," in 
1892; and " Sport Royal," a collection of short 
stories, in 1893. "A Change of Air" and 
" The Prisoner of Zenda " have appeared in 
close succession since the beginning of the 
present year. Mr. Hawkins was a liberal can- 
didate for parliament at the last general elec- 
tion, but was defeated. 

Readers of "The Hoosier Schoolmaster" 
will remember Phillips, the champion speller of 
the Indiana school described therein. .Phillips 
still lives in Vevay, Ind., Dr. Eggleston's old 
home, and will soon be seventy-three years old. 

Some confusion has been caused in the 
public mind by the fact that there are two Miss 
Kate Sanborns, whose names have appeared a 
good deal lately in the public prints. One of 
them is Miss Kate Sanborn, the author and 
lecturer, who has bought herself a new farm at 
Metcalf, Mass. The other is Miss Kate San- 
born, of St. Louis, daughter of Hon. E. B. S. 
Sanborn, of Franklin, N. H., who has been 
elected city librarian of Manchester, N. H. 

At Tennyson's death, the late Robert Clark, 
the Edinburgh printer, had thirty-six printing, 
presses engaged for three weeks in turning out 
the poet's works. At the same printery, for the 
last thirty years, at least thirty hands have been 
employed uninterruptedly in printing Scott's 
works. Of the first two of the sixpenny edi- 
tions of Kingsley works, more than a million 
copies were sold. 

Howard Seeley died in Brooklyn, N. Y.^ 
June 22. 

William Davis Gallegher, journalist and 
poet, died at Louisville, Ky., June 28. 

Sir Austen Henry Layard, G. C. B., died in 
London July 4, aged seventy-seven. 

George R. Graham, once publisher of Gra- 
ham's Magazine^ died at Orange, N. J., July 13,, 
aged eighty-one. 

Walter Pater died suddenly at Oxford, Eng- 
land, July 30, aged fifty-five. 




Vol. VII. 


No. 9. 


CONTENTS : fao« 

Sno«t>stoky Wmtimo. Marf E. Child, 1*9 

OwBK Wi$T««. Sydtuy G. FisMsr «30 


The Chance for the Neiv Writer iS> 

A GuiDB TO TMB Manusciiipt Makkst. B4ik Day. . 133 

QuniBS. >34 

NBwsPApmit English Editbd 13S 

Tub ScKAr Baskbt 13S 

Commas After Words in Series, 135 — "None" 

with Plural Verb, 13s — Author of QooUtion Wanted. 136 

Book Rbvisws. 136 

Hblpful Hints and Siwobstions. 140 

A Msgasine File, 140 — Note>inaking on Book-covers. 140 


Nbws and Notbs 14s 


That the short story as it exists to-day is the 
product of the last few years no one can deny. 
Whatever the cause of its great popularity, 
whether books are slowly but surely yielding to 
newspapers and magazines, whether each year 
less time is given to any kind of reading than 
formerly, it is not necessary to discuss here. 
The fact remains, the short story now enjoys 
the greatest favor of the reading public and is 
the one class of literature in which the largest 
number of writers are striving to win renown. 

That the writing of short stories requires a 
special talent, a style and temperament differ- 
ent from that requisite for novel writing, is 
proven by the failure of many who are suc- 
cesses in other lines. The short story is now 
a distinct branch of literature, fulfilling quite 
another ofHce from its older sister, the novel, 
and requiring different treatment. 

The short story of to-day is something more 
than a shortened long story. Whatever the 
real or ostensible purpose of the novel may be, 

— amusing, philosophical, or aiming at reforms, 

— its reader opens it with the deliberate inten- 
tion of devoting a certain amount of time to its 
perusal. He is willing to consider the author's 
opinions, expects digressions, analyzations, re- 
flections. Not so with the short story. It is 
a thing of the moment, caught up between work 
hours, — a thing to be read hurriedly, but once, 
maybe, and never glanced at again. To be 
successful, to make a lasting impression, the 
author must strike while the iron is hot. He 
must not weaken his e£Fect by descriptions, or 
waste his time in digressions. He must efface 
himself absolutely. He must present one or 
more strong characters, a striking incident, and 
he must do it quickly, that the story may be 
like a flash light and burn itself into the 
reader's memory. 

A novel is a picture of life, a rounded, fllled- 
out sequence of cause and effect. The short 
story is the glimpse of a moment's action, the 
study of a characteristic, the outlining of a 
defect, a virtue, a hope, a fear, a mistake. It 
is like the sketch an artist makes of eath of the 
figures in a painting. He takes them piece- 
meal, — tries his skill on the hang of a garment, 
the poise of a head, the turn of a hand. The 
short-story writer does the same thing, and 
leaves it to the reader to take the sketch and 
paint it into the great panorama of his own 

The short story is the charcoal sketch of lit- 
erature. There is no shading, apparently no 
patient, painstaking minuteness of detail, no 
elaborated background. It is sim^W ^ V>^Vs^ 

Copnitht, 1I94, h$ WiuAikM H. U\u*. KQl 


The Writer. 

study in a few short, strong lines. It is to pro- 
duce a single e£Eect, convey one impression. 
For this reason the greatest charm, the great- 
est strength of a short story often lies in what 
it does not say. " The secret of wearying your 
reader," said Voltaire, " is to tell him all." Let 
it be the reader who fills in the background ; 
let him make a picture of the study. 

Consider the popular short story of the day. 
There is something almost brusque in its treat- 
ment. There is no introduction of its hero by 
a third person, but one comes upon him sud- 
denly and laughs or cries with him, likes or dis- 
likes him, and then he walks away and that is 
all. After he is gone one has time to decide 
what color his eyes were and to speculate upon 
his bringing up. One wonders what his for- 
tunes were in the past, and where he went to, 
and how he fares. He sticks in the memory 
because he is so cleanly cut, so boldly sketched. 

A successful short story of to day means con- 
densation, few characters, short descriptions, if 

any, quick-time movement, and a total efiEace- 
ment of the writer. A story that covers several 
years loses crispness. Never mind what hap- 
pened long ago to your character, or what will 
happen in the future ; your office is with the 
present moment, the present action. 

As for the incident, the motive, the short 
story oflEers wide scope for literary aspirants. 
In no other field is there so ample opportunity 
for individuality. It is a significant fact that 
the most successful short stories have not been 
love tales. The thousand and one incidents in 
every-day prosaic pleasure ancT pain, the petty 
troubles, the humble sacrifices, the modest as- 
pirations, the quiet, humdrum side of life, all 
these arc having their turn now, after the great 
and heroic has been worn threadbare. He who 
can create something out of the hitherto uncon- 
sidered trifies has done much, for he has exalted 
the mighty little things to their rightful place in 
the world. Mary E, Child. 

Jackson, Mich. 


Mr. Owen Wister, whose stories of Western 
life in Harper* s Magazine have for the last 
three years attracted so much attention, was 
born in Philadelphia, July 14, i860, of a family 
well known and prominent in that city ever 
since the revolution. He went to school in 
Switzerland and England from 1870 to 1873, 
thence to St. Paul's School, Concord, N. H., 
where he remained until 1878, in which year he 
went to Harvard. He was graduated from the 
college with the class of 1882. He attained the 
highest honors in music and honorable mention 
in philosophy and English composition. 

After his graduation he was for a time with a 
banking house in Boston, and also spent some 

time in Europe, where he studied music, to 
which at that time he was very much devoted. 
He was recommended by Liszt at Bayreuth and 
Guiraud in Paris to take up composition, and 
he studied for a time with the latter; but he 
was turned away from music by circumstances. 
He came home and entered the Harvard Law 
School, where he graduated in 1888, receiving 
at the same time with his law degree the degree 
of A. M. of the university. He was admitted 
to the Philadelphia bar in 1889. 

Besides his taste for music, Mr. Wister had 
always shown since his school days a decided 
ability for literary composition. He had been 
one of the editors of a little periodical when he 

The Writer. 


was at school, and at college he was constantly 
writing plays and producing compositions of 
various sorts of a light character, almost in- 
variably in a humorous vein. These produc- 
tions were very bright and were always admired 
by his /friends, but never came to any serious 
importance. His story-writing, which has now 
roused the people to a new sense of his abilities, 
dates from a visit in the summer of 1885 ^^ ^ 
cattle ranch in the West. He saw a great deal 
of Western life at that time, and it made a 
deep impression on him, as it has on many 
others. Accustomed to the civilization of 
eastern America and Europe, he had no 
idea that the West contained anything very 
interesting, and he would at that time have 
been the last person in the world to suppose 
that it contained the material for literature. 
On this first Western expedition he discovered 
also that he was a natural-born hunter. He 
was soon devoting himself to all the details of 
rifies and camp equipage, and has since then 
made several remarkable hunting trips, in one 
of which he penetrated the mountain fastnesses 
of Washington Territory and shot a number of 
those curious and rare animals, the Rocky 
mountain wild goat. 

On this first Western trip he had seen a great 
deal of life among the cattle men, for the cattle 
era was at that time still brilliant and booming. 
On his next visit, in 1887, he went to Fort 
Washakie, a typical frontier post, 150 miles from 
a railroad, where he first studied Western mili- 
tary life and Indian reservations, and again in- 
dulged in mountain hunting. He went West 
again the following year and has been going 
West ever since, sometimes twice a year, ex- 
ploring the whole country from the Rio Grande 
to the British boundary, becoming familiar 
with military posts, Indians, ranches, hunting 
camps, together with the peculiar characters of 
the mining regions and the small towns. He 
had always kept a journal with detailed notes 
of what he saw and heard, but never thought 
of writing until late in the year 1891, after a 
prolonged journey through the cattle country 
of Wyoming and a trip through the Wind River 
mountains. He then wrote " Hank's Woman," 
a story that was rather crudely executed, but 
showed power, and soon afterward he wrote 

"How Linn McClean Went East,'* which 
was so skilfully and artistically executed 
that it was hard to believe it had been written 
by the author of "Hank's Woman." It was 
not only full of incident and pathos, but con- 
tained some excellent character drawing, and 
has been pronounced by a competent critic to 
be as good as any short story can be. 

" Balaam and Pedro," another story showing 
the same varied powers, was his next venture, 
and after that came " Emily," a tale in lighter 
vein. Since then several of his stories, "A 
Kinsman of Red Cloud," "Little Big Horn 
Medicine," and "The General's Blu£E," have 
been historical, and deal with important events 
in the military and Indian life of the plains. 
He has also written " The Winning of the Bis- 
cuit Shooter," " The Promised Land," " Speci- 
men Jones," and " The Serenade at Siskiyou." 
A striking characteristic of all these stories is 
their fidelity to the life of which they treat, and 
this fidelity has been testified to by many promi- 
nent people in all walks of life who have passed 
their lives in the West. A man of Mr. Wister's 
education and associations naturally takes this 
real and true view of his work, and it is a merit 
of no little importance. 

Mr. Wister seldom invents the main inci- 
dents of any of his stories. He believes that 
if he knows of an actual fact suited to the 
development of the story, there is no use in 
inventing one, so that many of his events are 
often taken unmodified from the real life he 
has seen. In this respect he has had the same 
experience other writers have had and finds 
that the incidents he has altered the least from 
reality excite the most incredulity. His charac- 
ters are, however, of course, all imaginary, ex- 
cept when he deals with some public character, 
like General Crook. He writes slowly, taking 
generally two weeks to a story, and usually 
writes in the morning. When embarked on a 
story he seldom works every day, but stops and 
thinks of other things. Too much thinking he 
finds turns the story stale. But his stories are 
always thought over for many weeks before he 
begins them, and then written and rewritten 
until they are as he wants them. 

Philadblphia, PensL. 

Sydney G. F'tsktr- 


The Writer. 

The Writer. 

Publkhcd monthly by The Writer Publishing Company, aSa 
Washington street, Rooms 9 and 10, Boston, Maus. 



%*Thb Writer is published the first day of every month. 
It will be sent, post-paid, Onb Ybar for Onb Dollar. 

%* AU drafts and money orders should be made payable to 
The Writer Publishing Co. Stamps, or local checks, should 
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it in advance. Accounts cannot be opened for subscriptions, 
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%*The American News Company, of New York, and the 
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are wholesale agents for Thb Writbr. It may be ordered 
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aSa Washington street ( Rooms 9 and 10), 

P. O. Box 1905. Boston, Mass. 

Vol. VII. September, 1894. No. 9. 

Short, practical articles on topics connected 
with literary work are always wanted for The 
Writer. Readers of the magazine are invited 
to join in making it a medium of mutual help, 
and to contribute to it any ideas that may occur 
to them. The pages of The Writer are 
always open for any one who has anything help- 
ful and practical to say. Articles should be 
closely condensed; the ideal length is about 
1,000 words. 

« « 

What a difference there is between a great 
book and a large book ! 

« « 
The editor of the Congregationalist takes a 
pessimistic view of the literary situation, so far 
as new writers are concerned. "There is no 

feature of our experience more pathetic and 
disagreeable," he says, "than to deal fairly 
and frankly with the young writers who appeal 
to us for recognition and for compensation for 
their contributions. In almost every case there 
is no good warrant for the aspiration which the 
would-be contributor entertains. The convic- 
tion is forced upon us more strongly each year 
that only the very few are able to write so as to 
interest and impress the average reader of our 
columns. And for the young writer to cherish 
the hope that it may be possible to subsist from 
the fruit of the pen is an absurd and hopeless 

It may be true that very many of those who 
send manuscripts to the Congregationalist are 
hopelessly incompetent, and it certainly is true 
that the average young writer can have no hope 
whatever of maintaining himself wholly by his 
contributions to pure literature, but it is not 
right for the Congregationalist to take such a 
discouraging view of the possibilities in the 
literary field. It is hard to see, also, why it 
should be a pathetic and disagreeable task for 
an editor to deal frankly and fairly with incom- 
petent young writers. Most editors do not 
seem to be overburdened by consideration for 
the feelings of their contributors, and there is 
really no reason why they should be. If a 
manuscript is unavailable, an editor can usually 
discover the fact with very little labor, and in 
such cases the practice of the Congregationalist 
is merely to return the manuscript to the sender, 
accompanied by a printed slip. That experi- 
ence certainly ought not to make the editor 
particularly sad. He may feel sorry for his in- 
competent contributor, but in the hurry and rush 
of daily work, the unfortunate is inevitably soon 
forgotten, and all of the editor's labor cannot be 
pathetic, since there really are some able writers 
who send manuscripts to the Congregationalist^ 
as the columns of the paper weekly show. 

« « 

As for the broad statement that "in almost 
every case there is no warrant for the aspiration 
which the would-be contributor entertains," it 
seems a good deal wider than it really ought to 
be. The belief of The Writer, on the con- 
trary, is that the average of excellence among 

The Writer. 


beginners in writing was never so high before 
as it is at the present time. Nearly everybody 
writes fairly well, nowadays, and while the num- 
ber of those who have transcendent literary gen- 
ius may be as small as it ever was, one important 
reason why beginners in writing do not meet 
with better success financially is, that they have 
so many fairly well qualified competitors. No 
young writer, however, who writes because he 
feels that he has something to say, should be 
discouraged either by the number of his com- 
petitors or by the doubt of financial profit. As 
for writers who write because they want to say 
something, the sooner they quit the better for 
all concerned ; but the writers who really have 
a mission ought not to be discouraged by any- 
body's gloomy advice. Every famous writer 
was a beginner once, and if he had not begun, 
he would not be famous now. Sometimes a 
beginner makes fairly good wages at the very 
start. Mrs. Humphry Ward, for instance, has 
published only three books, but she is said to 
have made $80,000 from " David Grieve," 
$80,000 from " Marcella," and $40,000 from 
"Robert Elsmere." The Writer will not 
vouch for the accuracy of these statistics, but 
there is no question that Mrs. Ward's work, 
although she is a beginner, has been financially 
very profitable to her. 


Of course, the average young writer cannot 
reasonably hope for any such good fortune, but 
if he writes because he has something to say, 
and not because he wants to say something, he 
has a good chance of fair remuneration for his 
work. It is foolish, as the Congregationalist 
says, for a young writer to hope to support him- 
self wholly by literary work, but literary work 
often brings a very pleasant addition to an in- 
come derived regularly from some other source. 
The school teacher, for instance, who makes 
from $50 to $100 a year by writing for various 
periodicals finds the money a useful addition to 
her income, although she may now and then 
give the editor of the Congregationalist a pa- 
thetic and disa^eeable experience, perhaps, by 
sending him a story which he doesn't like. 
The work is pleasant to her, too, and, gaining 
facility with practice, she may, if she has talent) 

very likely increase her income from writing 
until she is enabled to give up school teaching v 
entirely in time. Let every beginner, then, who 
has a story to tell, of whatever kind, tell his 
story as well as he knows how, and try its for- 
tune with the editorial guild. If he expects 
fame and fortune at the start, disappointment 
will probably be his fate ; but if he is reasonable 
in his expectations, he has on the whole as good 
a chance, perhaps, as the editor of the Congre- 
gationalist himself had, in the vanished long 
ago, when he began. 


Some time ago attention was called to the 

value of The Writer to authors as a means of 
keeping informed about the important news 
of the literary market Since then a letter 
has been received from Albert E. Lawrence, in 
which he says : — 

I have found Thb Writer very helpful, and one feature I 
wish to speak of particularly — that of noticing prize offers. 
Through it I learned of the Neva York Observer prize offers 
last winter, and the story which I submitted was given half of 
the second prize money. I hope you will continue this feature 
and make the most of it. 

Suspensions of periodicals and changes of 
address, as well as offers of prizes, are an- 
nounced in The Writer, much to the advan- 
tage of its readers. One subscriber writes that 
the announcements of the suspension of di£Eer- 
ent periodicals saved him in postage last year 
several times the subscription price of the 
magazine. w. h. h. 


A book that will become extremely useful to 
the young climber on the literary ladder may 
be made at home. The knowledge contained 
therein may be the result of experience, or it may 
be obtained from less expensive sources. 

The book should be, originally, a blank-book, 
with pages of generous width. It should be 
divided into departments for Literary, Relig- 
ious, Floral, Domestic, Agricultural, and other 
publications ; and to each publication should be 
allotted four or five lines. 

Upon the first line in each case should be 
written the name and address of the publica- 
tion ; on the second, a memorandum of the style 
and length of article preferred by it ; on the third, 
information about the prices paid — whether 


The Writer. 

payment by word, line, column, or article, and 
• when payment is made ; whether on acceptance, 
on publication, monthly, quarterly, or half- 
yearly ; on the fourth, notes about the general 
treatment given to contributors, etc. ; the fifth 
line is left blank for the addition of items of 
which one may come into possession from time 
to time. 

The publications should be listed in their 
several departments according to their merits 
and literary standing. 

In preparing an article for the publications 
in any department, the beginner should seek to 
write for the best one in the list, conforming 
to its requirements, and reaching its standard, 
if possible. Then, if, after a careful study of 
the completed article, comparing it with those 
in the publication for which it was prepared, 
the writer decides that it is worthy to be sent 
to that one, let it be sent there. If it is re- 
turned, it may be offered to the next, and it is 
quite certain — unless the author is a conceited 
donkey, and has written utter trash — to find a 
market before it reaches the bottom of the list. 

With such a book, and by following the above 
method, a writer may be saved many stamps 
and much disappointment in the course of a 
year. Beth Day. 

South Kaukauna, Wis. 


[ Questions relating to literary work or literary topics will be 
answered in this department. Questions must be brief, and 
of general interest. Questions on general topics should be 
directed elsewhere.] 

( I.) If a manuscript should be declined by 
Harper & Brothers, for instance, and it should 
then be sent to Charles Scribner's Sons, is there 
a possibility that the manuscript would be re- 
ferred by them to the same Readers who had 
previously examined it? In other words, do 
di£Eerent publishers sometimes employ the same 
manuscript Readers, or does each publisher 
have his own separate corps ? 

( 2. ) What do advertisement writers gener- 
ally charge for short " paragraphical " advertise- 
ments, sometimes written in prose and some- 
times in poetry ? c. j. 

[ ( I. ) There is a possibility that two succes- 
sive publishers might refer a manuscript to the 

same Reader for judgment, but hardly a proba- 
bility that this would be so. 

( 2. ) Some advertisement writers advertise 
that they will write short advertisements for 
fifty cents apiece. That is probably the lowest 
price at which such work is done. An adver- 
tising "poem "should bring from three to ten 
dollars. There is no law to prevent higher 
prices being asked and paid. — w. h. h.] 

How can you write the following sen- 
tence : — 

Bemis, son of the renowned author of " Nothing," who died 
in 1928, was a misogynist. 

SO as to make it plain whether it was Bemis 
or his father who died in 1928 ? a. o*k. 

[ There is nothing ambiguous about the fol- 
lowing sentence : — 

Bemis, who was the son of the renowned author of " Noth- 
ing," and who died in 1928, was a misogynist. 

To show that the man who died was Bemis' 
father, the sentence might be written : — 

Bemis — the son of the renowned author of ** Nothing," who 
died in 1928 — was a misogynist. 

or the whole statement might be put into two 
sentences, thus : — 

Bemis was a misogynist. He was the son of the renowned 
author of ** Nothing," who died in 1928. 

Generally speaking, the easiest way out of 
any such difficulty is the best, and the easiest 
way to climb over a grammatical difficulty, as 
our Hibernian friends might say, is frequently 
to go around it. — w. h. h. ] 

What is the proper way, when there is a 
break in the telling of a story, to indicate to the 
printer that he should leave a little space to 
show it? A. R. 

[The ordinary way to indicate that a blank 
space should be left in a printed page is to 
write in the proper place in copy in the centre 
of the line : " Leave blank space," or, " One 
line blank." The printer will understand either 
direction well enough. — w. h. h.] 

Which is right, in an obituary sketch, " He 
leaves a wife," or " He leaves a widow " ? 

F. R. B. 

[ " He leaves a wife " is the proper phrase. 
By leaving her, he makes his wife a widow. If 
it is right to say, "He leaves a widow," it is 
only consistent to say, "He leaves a widow and 



three orphans," or, in case of a wife's death, 
" She leaves a widower and three orphans." — 
w. H. H. ] 


A copy of the little book, 
so well worth possessing by 
any young man, will be sent 
to any address by inclosing 
lo cents to the office of the 
Ladies' Home Journal, Phil- 
adelphia. — Ladies* Home 
Journal for September. 

While many were turned 
back by the storm, yet about 
one hundred and eighty toiled 
on and reached the summit, 
of whom thirty-eight were 
women. — C. H. Sholes, in 
Harper's Weekly. 

W. R. Thayer, the editor 
of the Harvard Graduates' 
Magazine, gives the lecture 
to the young people at the 
Old South this afternoon. — 
Boston Daily Advertiser. 



— Boston Globe Headlines. 

Of 8,000 bills brought before 
Congress this year, the latter 
acted upon all but 800 of 
them. — Roxbury ( Mass. ) 

And yet, notwithstanding 
all its vicissitudes or the bad 
treatment it received at the 
hands of pretended friends, 
it presents vast improvement 
to existing conditions. — 
President Cleveland'' s Letter 
to Congressman Catckings. 

In the afternoon and even- 
ing, with his wife and adopted 
daughter, Miss Voice Acumis 
Beecher, he received many 
friends personally. — New 
York Herald. 

A copy of the little book, 
so valuable to any young 
man, will be sent to any one 
who writes for it, enclosing 
10 cents, to the office of the 
Ladies'* Home Journal, Phil- 

Although many were turned 
back by the storm, about one 
hundred and eighty, of whom 
thirty-eight were women, 
toiled on and reached the 

W. R. Thayer, the editor 
of the Harvard Graduates' 
Magazine, will give the lec- 
ture to young people at the 
Old South this afternoon. 



Of 8,000 bills brought be- 
fore Congress this year, all but 
800 were acted on. 

And yet, notwithstanding 
all its vicissitudes and the 
bad treatment it received at 
the hands of pretended 
friends, it presents a vast im- 
provement upon existing 

In the afternoon and even- 
ing, with his wife and his 
adopted daughter, Miss Voice 
Adams Beecher, he received 
many friends personally. 


The necessity of using the comma after the 
next to the last of three or more adjectives in 
succession, when the last two are connected by 
a conjunction, was pointed out by £. Lincoln 

Kellogg in the July Writer. An excellent 
illustration of the rule is afforded by the follow- 
ing sentence, which I came across in a story 
yesterday : " He was a noble fellow — wonder- 
fully versatile, brave, and generous to a fault." 
If you omit the comma after brave, you say 
that the hero in question was brave to a fault, 
which is not what the author meant. Again, 
take this sentence : " For dinner he had lobster 
and vinegar, and cherries, and terrapin, and 
bread and milk." All the commas used are 
absolutely essential, to give an accurate idea 
of the tempting repast. It will be observed 
that the use of " and " does not make the 
commas unnecessary, a sufficient answer to the 
assertion sometimes made that the comma after 
the second adjective in a group of three of 
which the last two are connected by " and " is 
unnecessary because the " and " takes the 
place of it. In cases where no ambiguity would 
arise, however, as Wilson, in his *' Treatise 
on Punctuation," says : " When three or more 
words of the same part of speech, and in the 
same construction, are severally connected by 
means of * and,' * or,' or * nor,' the comma 
may be omitted after each of the particulars. 
Some writers separate all such serial words by 
commas ; but a mode of punctuation sp stiff 
as this seldom aids in developing the sense, 
and, in sentences requiring other commas, is 
undoubtedly offensive to the eye, if it does not 
obscure the meaning itself." w. h. h. 

" Besides this, none of the routes come into the heart of the 
city, and so they do not afford," etc. — *' Newspaper English 
Edited,''* in August Writer. 

** None come " is pretty poor editing. Come 
off your hypercritical perch, and learn to write 
grammar before jumping on a merely careless 
writer, like the one who wrote the second para- 
graph, in the Chicago despatch. 

David A. Curtis, 

[Bigelow, in his "Mistakes in Writing Eng- 
lish," says : " • None,' although literally mean- 
ing *no one,' may be used with a plural verb, 
having the significance of a noun of multitude." 
Illustrations are : Milton's ** In at this gate 
none pass the vigilance here placed " ; Proverbs 
ii : 19 : " None that go unto her return again " ; 
Byron's " None are so desolate, but something 
dear," etc. ; Blair's " None of their productions 



are extant"; and Young's ** None think the 
great unhappy but the great." Long, in his 
" Slips of Tongue and Pen," says : " * None ' 
and * any,' though originally singular, may now 
be used as plurals." So far as Mr. Curtis' 
second criticism is concerned, most of the 
faults in newspaper English are due to careless- 
ness. Probably the writer of the Boston 
Herald editorial about the elevated railway 
routes would have corrected his bad English, 
if he had carefully revised his manuscript. — 

w. H. H.] 

Will some reader of The Writer inform 
me where the following lines can be found : — 

" Tell me, ye winged winds, 

That around my pathway roar — 
Do you know some loved spot 
Where mortals weep no more ? " 

G. W. S. 

Chicago, 111. 


Thb Novel — What It Is. By F. Marion Crawford. io8 
pp. Cloth, 75 cents. New York : Macmillan & Co. 1893. 

When novelists write about their art, they do 
not usually give their readers much information 
about their methods, but they now and then give 
hints which are useful as suggestions to those 
who are studying the art of story- writing. Mr. 
Crawford's essay on the novel is no exception 
to this rule. Perhaps, therefore, the best re- 
view of it will be a selection of sentences from 
it, more or less connected, giving Mr. Craw- 
ford's ideas about the technique of his art. 

"A novel," he says, "is a marketable com- 
modity, of the class collectively termed * luxu- 
ries ' — an intellectual artistic luxury. Probably 
no one denies that the first object of the novel 
is to amuse and interest the reader. The pur- 
pose-novel constitutes a violation of the unwrit- 
ten contract tacitly existing between writer and 
reader. A man buys what purports to be a 
work of fiction, a romance, a story of adventure, 
pays his money, takes his book home, prepares 
to enjoy it at his ease, and discovers that he 
has paid a dollar for somebody's views on 
socialism, religion, or the divorce laws. In 
ordinary cases the purpose-novel is a simple 
fraud, besides being a failure in nine hundred 
and ninety-nine cases out of a thousand. A 
professed novelist is perhaps not a competent 
judge of novels from the point of view which 
interests the reader, and which is, of course, 
the reader's own. We know the technique 
of the trick better than the effect it pro- 

duces. We do not all know one another's 
tricks, but we have a fair idea of the general 
principle on which they are done. A novel is, 
after all, a play. It is a bad sign of the times, 
that persons who would not tolerate a coarse 
play read novels little, if at all, short of inde- 
cent. It is not always easy to see why we 
novelists occasionally introduce a thought, a 
page, or a chapter in a novel otherwise fit for a 
child's ears, which may have the effect, so to 
say, of turning weak tea into bad whiskey. Yet 
most of us have done it, contemplate doing it, 
or at least go so far as to wish that we might 
allow ourselves the liberty. It looks as if it 
might be easier to write interesting books with 
the help of the knowledge of evil, as well as 
with the help of the knowledge of good ; and 
after a certain number of years of hard work 
a novelist instinctively leans toward any method 
of lightening his labors which presents itself to 
his tired imagination. For the romance of 
romancing soon disappears. After the produc- 
tion of one, two, three, or half-a-dozen novels, 
if the writer is really what we call * a profes- 
sional,' and must go on writing as a business, 
he discovers how serious is the occupation in 
which he is engaged. Half-a-dozen books, or 
less, will make a reputation; ten will sustain 
one; twenty are in ordinary cases a career. 
Does any one, not an author, who reads these 
lines guess at the labor, the imagination, the 
set purpose, the courage, which are necessary 
to produce a score of novels of an average gooa 
quality? And if not, how can he understand 
the intense longing for a removal of restraint, 
for a little more liberty, that tempts the 
over-wrought intelligence into error."* The 
taste for realism is broad; but why must a 
novel writer be either a realist or a roT. anti- 
cist? Why should a good novel not com- 
bine romance and reality in just pro- 
portions? The perfect novel must deal 
chiefiy with love; for in that passion all men 
and women are most generally interested. It 
must be clean and sweet; it must have the 
magic to fascinate and the power to hold its 
reader from first to last. Its realism must be 
real, of three dimensions, not flat and photo- 
graphic ; its romance must be of the human 
heart and truly human ; that is, of the earth as 
we all have found it; its realism must be tran- 
scendent, not measured to man's mind, but pro- 
portioned to man's soul. Its religion must be 
of such grand and universal span as to hold all 
worthy religions in itself. Conceive, if possi- 
ble, such a story, told in language that can be 
now simple, now keen, now passionate, and now 
sublime — or rather, pray, do not conceive it, 
for the modern novelist's occupation would sud- 
denly be gone, and that one book would stand 
alone of its kind, making all others worse than 
useless — ridiculous, if not sacrilegious, by com- 

The Writer. 


parison. . . . The novel is distinctly a modern 
invention, satisfying a modern want. It is, or 
ought to be, a pocket-stage. Scenery, light, 
shade, the actors themselves, are made of words, 
and nothing but words, more or less cleverly 
put together. Every writer who has succeeded 
has his own means of creating the illusion which 
is eminently necessary to success. Some of us 
are found out and some of us are not ; but we 
all do the same thing in one way or another, 
consciously or unconsciously. The tricks of 
the art are without number, simple or elaborate, 
easily learned or hard to imitate, and many of 
us consider that we have a monopoly of certain 
tricks we call our own, and are unreasonably 
angry when a competitor makes use of them. 
Dialect seems to me to rank with puns, and 
with puns of a particular local character. Gen- 
erally speaking, I venture to say that anything 
which fixes the date of a novel not intended to 
be historical is a mistake, from a literary point 
of view. It is not wise to describe the cut of 
the hero's coat, nor the draping of the heroine's 
gown, the shape of her hat, nor the color of his 
tie. Ten years hence somebody may buy the 
book and turn up his nose at * those times.* 
The historical novel occupies a position apart 
and separate from others, but it does not follow 
that it should not conform exactly to the condi- 
tions required of an ordinary work of fiction, 
though it must undoubtedly possess other quali- 
ties peculiar to itself. Provided that no attempt 
is made to palm off the historical novel as a 
schoolbook. there can be no real objection to it 
on other grounds. On the whole, the historical 
novel is always likely to prove more dangerous 
to the writer than to the reader, since, when it 
fails to be a great book, it will in all likelihood 
be an absurd one. For historical facts are limi- 
tations, and he who subjects himself to them 
must be willing to undertake all the responsi- 
bility they imply. As for romance and realism, 
the realist proposes to show men what they are , 
the romantist tries to show men what they 
should be. For my part, I believe that more 
good can be done by showing men what they 
may be, ought to be, or can be, than by describ- 
ing their greatest weaknesses with the highest 
art. The education of a novelist is the experi- 
ence of men and women which he has got at first 
hand in the course of his own life, for he is 
of that class to whom humanity ofEers a higher 
interest than inanimate nature. The novel 
writer must know what the living world is, 
what the men in it do, and what the women 
think, why women shed tears, and children 
laugh, and young men make love, and old men 
repeat themselves. While he is writing his 
book, his human beings must be with him, 
before him, moving before the eye of his mind 
and talking into the ear of his heart. He must 
have lived himself; he must have loved, fought. 

suffered, and struggled in the human battle. 
I would almost say that to describe another's 
death he must himself have died. All this 
accounts, perhaps, for the fact that readers are 
many and writers few. The writer must have 
seen and known many phases of existence, and 
this is what the education of the novelist means : 
to know and understand, so far as he is able, 
men and women who have been placed in un- 
usual circumstances. Sentiment heightens the 
value of works of fiction, as sentimentality low- 
ers it. Sentimentality is to sentiment as sen- 
suality to passion. The deep waters of life the 
real novel must fathom, sounding the tide- 
stream of passion, and bringing up such treas- 
ures as lie far below and out of sight — out of 
reach of the individual in most cases — until 
the art of the story-teller makes them feel that 
they are, or might be, his. Caesar commanded 
his legionaries to strike at the face. Human- 
ity, the novelist's master, bids him strike only 
at the heart." 

Of course, such an abstract as this can ^ive 
but an imperfect idea of what Mr. Crawford 
says. His essay as a whole is well worth read- 
ing, w. H. H. 

Marcblla. By Mr«. Humphry Ward. Vol. I., 447 pp. 
Vol. II., 498 pp. Cloth, io box, $a.oo. New York : Nlac- 
millan & Co. 1894. 

A life-like photogravure picture of Mrs. 
Ward and a fac-simile of her signature, " Mary 
A. Ward," make a frontispiece for the two 
volumes of her latest novel. The story itself 
is confessedly a purpose novel, and so falls in 
the class which Mr. Crawford has condemned so 
strongly, but even Mr. Crawford must admit 
that " Marcella " is a strong, consistent, artistic 
piece of work, and that the interest of the story 
is not overburdened by the development of the 
author's theory of life. The book deals with 
life problems, but it is not insufferably didactic, 
and its teaching is indirect rather than obtru- 
sive. The character drawing is admirable, the 
personality of Marcella Boyce especially being 
as clear and vivid as that of any living person- 
age. There is no question that' " Marcella " is 
the best piece of work that Mrs. Ward has 
done. w. h. h. 

Fra Paolo Sarpi. By Rev. Alexander Robertson. 196 pp. 
Cloth, $1.50. New York: Thomas Whittaker. 1894. 

The body of Fra Paolo Sarpi, whom Mr. 
Robertson styles "the greatest of the Vene- 
tians," has at last found an honored resting- 
place in the church of the quiet Campo Santo, 
on the island of San Michele, after being for 
more than two hundred years transferred from 
place to place, " built up into walls and altars, 
concealed in private houses, and surreptitiously 
introduced in boxes, * contents unknown,' into 
seminaries and libraries, to hide it from the 
wolf-like hunt of its enemies." To be the ob- 


The Writer. 

ject of such persecution after he is dead, a man 
must have had some strong personal qualities 
while he was alive, and it does not seem ex- 
travagant, therefore, for Mr. Robertson to claim 
for his hero preeminence among Venetians. ** I 
agree with Mrs. Oliphant," he says, " that Fra 
Paolo is a * personage more grave and great, a 
figure unique in the midst of this ever 
animated, strong, stormy, and restless race ' ; 
and with Lord Macaulay, who has said 
of him that what he did he did better than 
anybody. I believe that it is impossible to 
produce from the long roll of the mighty sons 
of Venice one name to be placed above, or 
even to be set beside, his. He was supreme 
as a thinker, as a man of action, and as a 
transcript and pattern of every Christian prin- 
ciple." Mr. Robertson goes on to show that 
Fra Paolo was preeminent as an astronomer 
and mathematician ; that he divides with Dr. 
Harvey the honor of having discovered the 
circulation of the blood, and that he was recog- 
nized as a leader among magneticians and 
metaphysicians ; while as a statesman he 
wielded a vast influence in the Venice of three 
hundred years ago. Mr. Robertson's book was 
written during a residence in Venice, so that 
he was able to draw his facts from original 
sources in books and manuscripts. The inter- 
est of his work is heightened by a portrait of 
Fra Paolo and a fac-simile of a letter written 
by his hand. w. h. h. 

Instructor in Practical Court Reporting. By H. W. 
Thome. 237 pp. Cloth, $1.00. Cincinnati: Phonographic 
Institute Co. 1894. 

Mr. Thome's ** Instructor in Practical Court 
Reporting" is intended primarily for stenogra- 
phers : incidentally for trial lawyers and law 
students. Its author is a member of the Fulton 
County ( N. Y.)bar, and an official court ste- 
nographer. His aim has been to present to the 
stenographer every important phase of court 
reporting, to show and explain the methods 
generally used in doing it, and to describe the 
nature and meaning of the various features of a 
trial. The book is evidently the outcome of 
long practical experience, and as such has 
great value for all would-be court stenographers, 
while to the general reader it is interesting be- 
cause it gives an excellent idea of court pro- 
cedure, w. H. H. 

Tennyson : His Art and Relation to Modern Life. 
By Stopford A. Brooke. 516 pp. Qoth, $2.00. New York : 
G. P. Putnam's Sons. 1894. 

As its title implies, Mr. Brooke's work is 
something more than a study of Tennyson's 
poems from a literary point of view: it dis- 
cusses the poet as an artist, his relation to 
Christianity and his relation to social politics, 
as well as the literary qualities of his work. 
The chief part of the book is given to a critical 
study of Tennnyson's writings, under the head- 

ings, "The Poems of 1830," "The Poems of 
1833." "The Poems of 1842," "The Classical 
and Romantic Poems of 1842, with the Later 
Classical Poems," "The Princess," "InMe- 
moriam," " Maud and the War Poems," " Idylls 
of the King," "Enoch Arden and the Sea 
Poetry," "Aylmer's Field, Sea Dreams, The 
Brook," "The Dramatic Monologues," "Spec- 
ulative Theology," " The Nature Poetry," and 
"The Later Poems." Mr. Brooke has been a 
thoughtful and appreciative student of Tenny- 
son, and his analysis of the poet's work is 
discriminating and full of interest. No lover 
of poetry can fail to be attracted by the book. 

w. H. H. 

The Search for Andrew Field. By Everett T. Tomlinson. 
Illustrated. 313 pp> Cloth, $1.50. Boston: Lee & Shep* 
ard. 1894. 

"The Search for Andrew Field" is a boys' 
story, based on events of the war of 1812. The 
object of the author is to give young people an 
insight into the conditions of the times of 181 2, 
a history of the war, and a glimpse at the re- 
sults attained. He does this in a capital story, 
full of life, spirit, and adventure, which imparts 
much historical information and inculcates les- 
sons of manliness and courage, while it is sure 
to entertain the youthful reader. The book is 
the first of The War of 1812 Series, which will 
take its heroes through the various battles of 
the war on land and sea. w. h. h. 

Mother, Will, AND I. By Milton Coit. 390 pp. Paper, 50 
cents. Boston: Arena Publishing Company. 1894. 

" Mother, Will, and I," according to the 
author's introduction, is "a true story, told for 
the purpose of making public the process by 
which the possible future destroyers of society 
are now being created." The injustice of the 
existing social system is its theme, and the 
chief evils of modern life are attributed to their 
first cause in what the author styles those 
enemies of humankind, the rich conspirators, 
who, influenced by self-interest, are engaged in 
money-getting schemes, the success of which 
means disaster and misery to hundreds and 
thousands of their fellow-men. Depicting at 
the outset two high-minded, philanthropic 
young men, the author goes on to show how 
one of them in particular had his 
whole nature changed by the results 
of the Standard Oil deal and the panic 
of ' 73, which reduced his father, an honorable 
man, to poverty, and compelled his delicate, 
refined, and sensitive mother to suffer from 
hard work and deprivation until death at last 
ended all her wretchedness. To combat this 
social injustice, the young man, after a hard 
struggle in ordinary lines, sees no way but to 
begin an organized secret plotting against capi- 
talists, starting with individual robberies skil- 
fully planned and ending by organizing a band 

The Writer. 


of robbers and murderers, of which he is the 
leading spirit. The Western train robberies 
during the fall of 1893, the author says, were 
committed by this band. All the money secured 
was turned into a fund to be used to help vic- 
tims of social injustice. The author describes 
vividly the organization and operations of this 
society, as well as the causes which led to its 
formation. The purpose of the story is to show 
that ** the same e£Eort and enthusiasm spent in 
hopeless violence against society, if devoted to 
the new ideal in harmony with law, might have 
organized a new political party capable of an 
ideal social reconstruction." The tale is cer- 
tainly a powerful one, and its novelty and its 
strength of purpose alike recommend it to the 
reader. w. h. h. 

First Coursb in thb Study of German, According to 
THE Natural Method. With special regard to the in- 
struction of children. By Otto Heller. Second edition, 
with vocabulary. 92 pp. Qoth, 50 cents. Philadelphia : 
I. Kohler. 1894. 

The fact that Professor Heller's little book 
has reached its second edition is good evidence 
of its usefulness. It is simple, plain, and 
practical, and will help any one who is acquir- 
ing a practical knowledge of the German lan- 
guage, w. H. H. 

Sir Francis Bacon's Cipher Story. Discovered and 
deciphered by Orville W. Owen, M. D. Book III. 148 pp. 
Paper, 50 cents. Detroit : Howard Publishing Company. 

Part III. of Dr. Owen's "cipher story" is 
much better-looking t)rpoeraphically than either 
of the preceding parts. It is dedicated to Mrs. 
E. W. Gallup, Miss K. E. Wells, and Miss 
O. E. Wheeler, ** in acknowledgment of their 
valuable assistance in deciphering, by the rules 
of the cipher, volumes II. and III. of the cipher 
story." The volume completes ** Bacon's " 
account of the Spanish Armada, which is said 
to be '* deciphered mostly from the Shake- 
spearian plays and from the * Faery Queene,' 
but portions are found in the works of Peel, 
Greene, Marlowe, Burton, and Bacon." Dr. 
Owen still postpones giving any explanation of 
the methods of his work. Until he does some- 
thing of the sort, his books will have little 
value. w. H. H. 

Teutonic Switzerland. By W. D. McCrackan, M. A. 315 
pp. Cloth, 75 cents. Boston : Joseph Knight Co. 1894. 

Romance Switzerland. By W. D. McCrackan, M. A. 270 
pp. Cloth, 75 cents. Boston : Joseph Knight Co. 1894. 

Mr. McCrackan's publishers have issued in 
two attractive little volumes his impressions of 
Switzerland, together with some account of 
Swiss legends and traditions and of the emi- 
nent men and women who have lived within the 
borders of the mountainous republic. The 
book is not a guide book in any sense, but it is 
admirably adapted for a companion during a 
trip through Switzerland or for home reading 
by those wno can travel only in imagination and 

by their firesides. As the historian of *'The 
Rise of the Swiss Republic," the author is a 
recognized authority on Switzerland, and his 
book is written in a pleasant, lively, and agreea- 
ble style. w. H. H. 

Wilson's CvCLOPiEDic Photography. By Edward L. Wil- 
son, Ph. D. 453 pp. Cloth, $4.00. New York : Edward 
L. Wilson. 1894. 

" Wilson's Cyclopaedic Photography " is a 
complete handbook of the terms, processes, 
formulae, and appliances employed in photog- 
raphy, arranged in dictionary form for ready 
reference. The compiler has been for many 
years an authority on all photographic matters, 
and his other works on photographic subjects 
are well and favorably known. This new work 
contains more than 2,500 references, and is un- 
doubtedly the most comprehensive photographic 
reference book available for English readers. 
The object of the compiler throughout has been 
to make his book simple, clear, concise, and 
practical, to enable the beginner as well as the 
expert to use it with profit. He has succeeded 
admirably in his undertaking, and his work 
takes its place at once as the standard English 
photographic dictionary. In his preface Mr. 
Wilson says : " I have drawn from a thousand 
authors. I have filtered and reduced as care- 
fully as my judgment would allow, and I have 
no doubt I could do better should I begin at 
once and do it all over again. I commend it to 
the craft as it is, however, with the full knowl- 
edge that in a work like this, including such a 
multiplicity of subjects, kind indulgence must 
be asked for the numerous errors that even the 
most painstaking care must have overlooked." 

w. H. H. 

Old English Ballads. Selected and edited by Francis B. 
Gummere. 380 pp. Cloth, $1.05. Boston : Ginn & Co. 

Professor Gummere's collection of old Eng- 
lish ballads is made more interesting by an ex- 
haustive introduction, full explanatory notes, 
and a glossary. The ballads themselves are 
representative in range and quality, and have 
been well selected by the editor. The Athe- 
naeum Press Series, to which tl;e book belongs, 
is intended to furnish a library of the best Eng- 
lish literature from Chaucer to the present time 
in a form adapted to the needs of both the stu- 
dent and the general reader. w. h. h. 


[ All books sent to the editor of Thb Writer will be ac- 
knowledged under this heading. They will receive such further 
notice as may be warranted by their importance to readers of 
the magazine.] 

A History of thb United States, By Allen C. Thomas, 
A. M. 410 and Ixxii. pp. Half leather, $1.25. Boston : 
D. C. Heath & Co. 1894. 


The Writer. 

A Modern RosAUND. By Edith Carpenter. 251 PP- Paper, 
50 cents. Chicago : Rand, McNally, & Co. 1894. 

The Red Sultan. By J. Madaren Cobban. 313 pp. Paper, 
50 cents. Chicago: Rand, McNally, & Co. 1894. 

Magdalena. By Perpetuo Ponslevi. 270 pp. Paper, as 
cents. Chicago : Rand, McNally, & Co. 1894. 

Thy Name is Woman. By Olive B. Muir. 320 pp. Pa[)er, 
50 cents. New York : G. W. Dillingham. 1894. 


A Magazine Pile. — I have a file which I 
had made for magazines, consisting of a series 
of shelves, and employed peculiarly in my own 
case. Every writer would find such a case a 
valuable adjunct to work of a general literary 
character. It is made of three ten-inch-wide 
boards ( whitewood stained ), with top, bottom, 
and back covered in by others ( which may be 
cheap pine) in such a way as to leave room for 
two tiers of shelves six feet high, with compart- 
ments large enough to accommodate the larger 
magazines. Light cleats are nailed in place 
with wire nails to hold the shelf-boards. The 
shelves are of basswood, and are simply laid on 
these cleats. By removing one of the shelves 
two spaces may be thrown into one, perhaps to 
fit the growing requirements of some particular 
journal. There are fourteen such spaces on 
each side of the centre-board in my case, mak- 
ing twenty-eight spaces in all, — each 10x14x5 
inches, — wherein may be filed specimen copies 
of twenty-eight papers or magazines of large 
size, or double the number of small ones. I 
advocate preserving such a collection of jour- 
nals, with information as to date of publication, 
" press " day, office address, and any other fact 
desirable to know. Suppose it is the tenth day 
of the month. My magazine file shows me at a 
glance which publications are " available " for 
contributions, as regards the chance of catch- 
ing each paper before its next issue. The num- 
ber is limited — my field of work for the day 
has been indicated. From the number of 
papers which might use my matter soon, as 
thus indicated, I select one and look over it for 
ideas as to what might be acceptable. I am of 
those who desire to see the special need of their 
work before setting about it; for then I am 
supplied with an impulse, and can work to the 
end of exactly shading my writing to the re- 
quirements before me — the audience I am 

seeking to please, entertain, or instruct. I find 
the rack I have described so useful to me in 
this way that I think it well to call attention to 
the plan. C. S. Wady. 


Note-making on Book-covers. — Has it ever 
occurred to any reader of The Writer to 
make use of a book-cover as a note-book ? I 
always like to index the books I read, to keep 
track of suggestions and side paths which are 
not always put in a book which has a published 
index. I therefore have to take notes as I read. 
But often I do my reading on verandas and in 
hammocks, and it is not always convenient to 
have a paper at hand on which to writ^; then 
the summer breezes are apt to make sad havoc 
with anything that is ot light weight. But a 
note-book is very clumsy. I have long been in 
the habit of covering the books I read with 
ordinary manila paper, and when I find a refer- 
ence — say to Cowley, or to the subject of art 
viewed in its moral relations, anything, in fact, 
which is not put in the general index — I simply 
turn my book over and write the references 
into my ** Library Key." I should never have 
thought of mentioning this very simple con- 
venience had not one of the professors in the 
university here said in one of our talks that he 
thought the idea an excellent one, and that he 
should never have thought of it. He intends to 
adopt it henceforth. Kenyon West 

Rochester, N. Y. 


[The publisher of The Writer will send to any address a 
eopy of any magazine mentioned in the following reference Uat 
on receipt of the amount given in parenthesis following the name 
— the amount being in each case the price of the periodical, 
with tkre* cents postage culded. Unless a price is given, the 
periodical must be ordered from the publication office. Readera 
who send to the publishers of the periodicads indexed for oopU» 
containing the articles mentioned in the list will confer a favor 
if they will mention The Writer when they write.] 

Addison, the Humorist. With portrait. M. O. W. Oli- 
phant. Century ( 38 c. ) for September. 

PoE IN Philadelphia. Letters from Poe, Burton, Irving, 
Willis, and Dickens, edited by G. E. Woodberry. Cenimy 
( 38 c. ) for September. 

Recollections. Aubrey De Vere. Century (38 c ) for 

Macaulay's Place in Literature. Frederic Harriaoo. 
Forum ( 28 c. ) for September. 

The Writer. 


Thb Cosmopolitan's New Homb. Illustrated. Cosmo- 
/ditan ( 18 c. ) for September. 

Early Journalism IN San Franqsco . J. M. Scanland. 
Overland Monthly ( 28 c. ) for September. 

Talks with thb Trade: Writers and Typewriters. 
Li^incotfs ( a8 c. ) for September. 

Headlines. W. T. Lamed. Lippincotfs (28 c. ) for 

The Evolution op the Heroine. H. H. Boyesen. 
Li^pincoifs (28 c. } for September. 

A Third Shelf op Old Books. Mrs. James T. Fields. 
Scribner's ( 38 c. ) for September. 

The Origin op " Thanatopsis.'* John White Chadwick. 
Harper's Mag^azine (38 c. ) for September. 

George du Maurier as an Author. Charles Dudley 
Warner. Editor's study. Harper's Magmas me (38 c.) for 

A Dramatic Reaust to His Critics. G. Bernard Shaw. 
Reprinted from New Review In Eclectic (48 c. ) for Septem • 

The Fourth Estate. Reprinted from Gentleman*s 
Magaaine in Eclectic ( 48 c. } for September. 

Dante and Tennyson. Francis St. John Thackeray. 
Reprinted from Temple Bar in Eclectic (48 c. ) for Septem- 

The Novelist in Shakespeare. Hall Caine. Reprinted 
from New Review in Eclectic ( 48 c. ) for September. 

My First Book, "Treasure Island." Robert Louis 
Stevenson. McClure*s Magazine ( 18 c. ) for September . 

The Religion op Walt Whitman's Poems. Rev. M. 
J. Savage. Arena (53 c. ) for September. 

Charlotte M. Yongb. With portrait. Frederick Dol- 
man. Ladies^ Home Journal ( 13 c ) for September. 

My Literary Passions. William Dean Howells. Ladies * 
Home Journal ( 13 c. ) for September. 

In Dbpbnce op Harriet Shelley. — III. North Ameri- 
can Review ( 53 c. ) for September. 

A Reading in the Letters op John Keats. Lena H. 
Vincent. A tlatdic Monthly (38 c.} for September. 

Wiluam Ellery Channing. Chicago Magazine for July. 

Recollections op Artbmus Ward. — II. John L. Cam- 
cross. To-day for August. 

PoE IN THE South. Letters of Edgar Allan Poe, John P. 
Kennedy, J. K. Paulding, Beverly Tucker, and others. With 
introduction and editorial notes by George E. Woodbury. 
Century ( 38 c. ) for August. 

Convcrsation IN France, lli. Bentzon. Century ( 38c. ) 
for August. 

Four Women Writers op the West ( Ina D. Coolbrith, 
OcUve Thanet, Charles Egbert Craddock, and Edith M. 
Thomas). With portraits. Mary J. Reid. Overland Monthly 
( 28 c ) for August. 

Curb for Dialect English in Foreign Countries. 
Eliza B. Burney. Arena ( 53 c. ) for August. 

An Episode in Turgenibf's Lipb. Nathan Haskell Dole. 
Arena ( 53 c. ) for August. 

In Defence op Harriet Shelley. — II. Mark Twain. 
North American Review ( 53 c. ) for August. 

My Contsmporaribs. Jules Qaretie. North American 
Review ( 53 c. ) for August. 

The Lovbs of Edgar A. Poe. Eugene L. Didier. 
Godey*t ( 13 c. ) for August. 

The Photography of Colors. Lazare Weiller. Popu- 
lar Science Monthly (53 c. ) for August. 

Photography as Applied to Process Work. Leslie E. 
Qift. Wilson^ s Photographic Magazine ( 33 c ) for August. 

Dante and Tennyson. F. St. John Thackeray. Re- 
printed from Temple Bar in LitteWs Living Age (31 c. > 
for August 4. 

The Poetry op Robert Bridges. Edward Dowden. 
Reprinted from Fortnightly Review in LOtelPs Livit^ Age 
(21 c. ) f or August 25. 

Wood Engraving as a Life Occupation. Harper's 
Young People (8 c. ) for July 31. 

Transmitting a Cablegram. Henry C. Holmes. Har- 
per's Young People ( 8 c. > for August 28. 

How TO Write a Newspapkr Article. Edwin L. 
Shuman. Journalist (13 c. ) for August 18. 

Personal Recollections op Longfellow. Justin Mc- 
Carthy. YoutVs Companion ( 8 c. ) for August 2. 

Local Jealousy in Literature. Youth^s iCompanion 
(8c.) for August 16. 

Death of an Old Editor (George Rex Graham). 
Harper's Weekly ( 13 c. ) for August 4. 

The Late Jambs Strong, S. T. D., LL. D. With portrait. 
Harper's Weekly ( 13 c. ) for August 18. 

Rev. Henry M. Field, D. D. With portrait. Printers* 
Ink (8c.) for August i. 

R. H. Stoddard at 69. Reprinted from New York Sun 
in Rochester Union and Advertiser for July 21. 

The Newspaper Hbadmakbr. New Haven Register for 
July 25. 

Ouida's Riches Gone. Gloucester ( Mass. ) Breeze for 
July 28. 

Georgia's Writers. Atlanta Constitution for July 29. 

Walter Pater. New York Sun for July 31. 

Literary TENOBNaBS. Alice Wellington Rollins. Chris- 
tian Register for August 2. 

Charles Dana Gibson. With portrait. Town Topics for 
August 2. 

Sarah Grand at Home. Jcannette Hale. Detroit Free 
Press for August 3. 

George du Maurier. Reprinted from Boston Transcript 
In St. Louis Globe-Democrat for August 4. 

Maurice Jokai. With portrait. Outlook for August 4. 

Mrs. Kate M. Bostwick. Boston Commonwealth for 
August 4. 

Wiluam Morris. Boston Transcript for August 4. 

My First Book, "Treasure Island." Robert Louis 
Stevenson. Indianapolis Journal ( 10 c. ) for August 4 ; Syra- 
cuse Sunday Herald^ Louisville Courier-Journal^ Denver 
Republican^ San Francisco Examiner^ New York Sun, for 
August 5 ; Jacksonville Citizen for August 7. 

The Rise op Henry Harland. Arthur Stedman. Boston 
Herald, Galveston News, for August 5 ; Burlington Hawkeye 
for August 7. 

Walter Pater. Carleton E. Noyes. Boston Budget for 
August 5. 

Sensational Story Writers. Reprinted from New York 
Morning Journal in Detroit Journal for August 6. 

Mrs. Cblia Parker Woollby. New York Times for 
August 6. 

Robert Louis Stevenson's Home in Samoa. Reprinted 
from Comhill Magazine in New York Home Journal for 
August 8. 

Errors of Authors. Reprinted from St. Louis Globe- 
Democrat in Columbus ( O. ) Dispatch for August 9. 

Writing Canada's History. Montreal Gazette V^-^. 
August 9. 


The Writer, 

Katherinb Tynan-Hinkson. M. J. Murphy. Boston 
Republic for August ii. 

Literary Homes on Long Island. Arthur Stedman. 
Baltimore Herald, Boston Herald^ Bimting^hant A^e-Herald, 
for August 12. 

Gilbert Parker. Dulutk News-Tribune for August la. 

How Some Famous Authors Began Their Careers. 
Mae Harris Andrews. Reprinted from Washington Post in 
Kansas City Times for August 12. 

Walter Pater. "G. W. S." New York Tribune for 
August 12. 

Dr. W. T. Harris. With portrait. Confregationalist for 
August 16. 

The Bryant Centenary. ( Full report. ) Springfield 
Republican for August 17. 

Woman in Journausm. Indianapolis ATirtvj for August 18. 

Authors as Diplomats. Reprinted from Philadelphia 
Times in New Haven Register lor August 19. 

Trying to Sell A Play. Grace Murray. Boston Journal 
for August ig. 

Women with Masculine Pen Names. Boston Journal 
for August 19. 

The Birthplace of Lindlby Murray. Philadelphia 
Times for August 19. 

Fanny Crosby, the Hymn-writer. New York Adver- 
tiser for August 19. 

Poets of Cincinnati. Cincinnati Tribune for August 19. 

Cincinnati Authors. Cincinnati Commercial Gazette 
ior August 19. 

Francis H. Underwood. Arthur Warren. Boston Herald 
for August 20. 

Oliver Wendell Holmes. Julia Ward Howe. Golden 
Rule ( Boston ) for August 23. 


Kate Chopin, a sketch of whom was published 
in the August Writer, has a successful story, 
" Tante CatVinette," in the Atlantic Monthly 
for September. The article, " A Reading in 
the Letters of John Keats," by Leon H. Vin- 
cent in the same number throws a good deal of 
light on the much discussed character of the 

Owen Wister has in Harper* s Magazine for 
September a vivid story, " The General's BlufE," 
founded on a frontier campaign of General 
Crook. He will have in the October number 
" Salvation Gap," a story of an old-time lynch- 
ing incident in the Southwest. 

" Captain Molly," a novel by Mrs. Mary A. 
Denison, author of " That Husband of Mine," 
appears in the September number of Lippin- 
^otfs Magazine* 

Julian Ralph is now on his way to the Orient, 
where he will make for Harper'' s Weekly and 
Harper's Magazine studies of the disturbed 
'Conditions now existing there. 

Richard Harding Davis returned from Europe 
August 3. 

Mrs. Everard Cotes (Sara Jeannette Dun- 
can ) has left her former home in Calcutta, and 
is spending the summer at Oxford, Eng. 

F. Marion Crawford has returned to Rome, 
having been in the United States for about a 
year. The statement is made that during his 
twelve-months' stay in the United States he has 
written ten novels and, a number of magazine 
articles. His purpose in coming here was to 
secure congressional action on a claim of his 
deceased father-in-law. General Berdan, against 
the government, for $100,000. Mr. Crawford 
will return again to the United States to urge 
this claim. 

John Fox, whose "Cumberland Vendetta" 
has interested Century readers for the past 
three months, is a young lumber dealer of 
Louisville, Ky. 

To the list of artist-authors of to-day given in 
The Writer for August, viz., G. H. Bough- 
ton, George Du Maurier, Frederick Reming- 
ton, F. Hopkinson Smith, F. S. Church, W. 
Hamilton Gibson, Mr. Zogbaum, and Alfred 
Parsons, the Independent adds the names of 
W. W. Story, F. D. Millet, Mary Hallock 
Foote, Howard Pyle, W. J. Linton, Joseph 
Pennell, George Wharton Edwards, and other 
names that appear less often, but occasionally 
in the magazines, such as George Hitchcock, 
Will H. Low, E. H. Blashiield, Birge Harrison, 
Edwin Lord Weeks, John La Farge, Robert 
Blum, Charles S. Reinhart, and that friend of 
children, Palmer Cox. 

The club of London women which began life 
as " The Literary Ladies " has changed its 
name to ** The Women Writers." 

The New England Kitchen Magazine is a 
new Boston monthly, the aim of which is to 
form a connecting link between home and school 
kitchens. Mrs. Estelle M. H. Merrill ("Jean 
Kincaid") and Miss Anna Barrows are the 

The management of Godey's Magazine hsL& 
undergone another change. John W. Lovell, 
the publisher, has bought an interest and has 
been elected secretary and treasurer. 

The Writer. 


The Magazine of American History^ which 
ivas founded by the late Mrs. Lamb and which 
was prosperous until her death, is to be revived 
"by the Patriot Publishing Company, publication 
being resumed with the September number. 

The American Agriculturist is going to be 
<:hanged into a series of five weeklies for five 
diflEerent parts of the country, and five sub- 
editions for di£Eerent parts of those divisions. 
The Orange Judd company has bought the 
•New England Homestead from the Phelps 
company, and will use that for its New England 
edition. It has also bought the Orange 
Judd Farmer^ of Chicago. The new weeklies 
will all be of magazine form, each with thirty- 
two pages and a cover. The Phelps company 
will continue to publish Farm and Home and 
the city edition of the Springfield Homestead, 

The twelve papers published by E. C. Allen 
& Co., the large Augusts ( Me. ) publishing con- 
cern which recently suspended business, will 
be consolidated into the following five periodi- 
cals formerly issued by Allen & Co. : Sunshine, 
Golden Moments , the Practical Housekeeper, 
the National Farmer, and the Daughters of 
America. They will be printed, mailed, and 
sent out from the publishing establishment of 
W. H. Gannett, under the name of S. W. Lane 
& Co. The first issue will be that of Sep- 

Mrs. James T. Fields has in Scribner's Maga- 
zine for September a chapter of entertaining 
literary reminiscences, suggested by books in 
the library of Mr. Fields, the publisher. This 
paper refers to Milton, Johnson, Thackeray, 
Lamb, and Barry Cornwall, and is fully illus- 
trated with portraits, fac-similes, etc. 

" Thanatopsis " has been called the greatest 
poem ever written by a boy of sixteen, and it is 
interesting also as the first American poem 
which has received and retained recognition 
from the critics. The influences that shaped 
the poem in Bryant's mind are described in 
Harper* s Magazine for September by Rev. 
John W. Chadwick, and the story is illustrated 
with two engravings of the bust of Bryant in 
the possession of Parke Godwin, and by a view 
of the house in which " Thanatopsis " was 

The Magazine of Art for September has a 
wood-engraved portrait of Alphonse Daudet, 
after the painting by M. Carri^re, and a sketch 
by M. H. Spielmann of Phil May, the humorist 
illustrator, with a portrait and six illustrations 
of his work by Mr. May himself. 

Portraits of Louise Chandler Moulton in 
early life, at forty-one, at forty-five, and at fifty- 
nine are given in McClure's Magazine for 
August. Mrs. Moulton was born at Pomfret, 
Conn., April 5, 1835. She was married in 1855 
to William A. Moulton, a Boston publisher, and 
Boston has ever since then been her home. 

Mr. Bcresford-Hope has sold the London 
Saturday Review, which has been for almost 
forty-six years in the Hope family. Walter 
Pollock retires from the editorship. The pur- 
chaser is L. H. Edmunds, a barrister, who will 
edit the review himself, and who will not change 
its policy. 

Robert Louis Stevenson tells in McClure's 
Magazine for September how he came to write 
" Treasure Island," and under what conditions 
and how the work was done. Pictures of the 
houses and scenes he inhabited while writing 
it, and some interesting portraits accompany 
the article. In the same number of the maga- 
zine is a series of portraits of Victorien Sardou. 

The marriage of J. M. Barrie to Miss Mary 
AnscU, the actress, took place at Kirremuir 
toward the end of July so quietly that outsiders 
knew nothing about it until long after the wed- 
ding day. 

Dr. Holmes observed his eighty-fifth birth- 
day August 28. 

The Magazine of Poetry (BufEalo) for 
August has portraits and sketches of Edward 
Sanford Martin, Rossiter Johnson, William 
Lyle, and other less-known writers. 

The Lippincotts announce a volume called 
"My First Book," and including the experiences 
of Walter Besant, James Payn, and twenty 
other well-known novelists. It will be edited 
by Jerome K. Jerome, and profusely illustrated. 

Macmillan & Co. announce that E. J. Sim- 
cox, the author of " Primitive Civilization," is 
a woman, the initial E. on the title page stand- 
ing for Edith. 


The Writer. 

Public Opinion has sent out an attractive 
plate containing the portraits of more than fifty 
of its principal contributors — nearly all of 
them being men now prominent in American 

B. L. Farjeon, the English novelist, will 
shortly publish in London some of the literary 
work of his thirteen-year-old daughter Nellie. 

Mr. Quiller-Couch, like Mr. Howells, believes 
more in hard work than in the impulses of 
genius. " When I am writing a story," he says, 
" I never do more than i,ooo words a day, and 
sometimes it may not be more than 1 50 words. 
I always devote the mornings to work, whether 
the result is 1,000 words or only a couple of 
sentences. I do not believe in waiting for in- 
spiration ; the effort must be made." 

The Century Company will publish in Octo- 
ber, as a companion volume to their Century 
Dictionary, "The Century Cyclopaedia of 
Names," a pronouncing and etymological dic- 
tionary of names in geography, biography, 
mythology, history, ethnology, art, archaeology, 
fiction, etc., making a single volume of 1,100 
pages, uniform in size and typography with the 
Century Dictionary. This will be the first book 
of its kind in existence. 

The following card is published in the Lon- 
don papers : " A prize of ;^2o will be given for 
the best original essay on the advantages to be 
derived from the establishment of a sound 
democratic republic in the United Kingdom. 
For conditions send stamped envelope to the 
Eleusis Club, London." 

The whole field of English poetry, from 1837 
to the present time, will be included in £. 
C. Stedman's "Victorian Anthology," which 
Houghton, Mifflin, & Co. will publish soon. 

Ouida has been having a hard time of it since 
her late financial troubles and the forced sale of 
her belongings. At last she is once more at 
rest, having found a new home for herself in the 
Villa Masoni, at St. Alissio, near Lucca. 

The manuscript Ruskin turns out is as dirty 
and scratched up as the manuscript of Scott 
was clean and neat There is hardly a para- 
graph in Ruskin*s copy that is not scratched 
and interlined, while a scratched out or rewrit- 
ten word in Spott*s copy was the exception. 

George Moore is going to cut down his novel, 
" A Mere Accident," into a short story. Rarely 
is a book so radically changed after having 
been published. The author is not dissatisfied 
with "A Mere Accident" as it is, but wishes 
to include it in a volume of short stories. 

Rolf Boldrewood, the Australian novelist, is 
in real life a police magistrate, and his every- 
day name is T. A. Browne. He is sixty-eight 
years old, and says he was thirty-seven years of 
age before he first thought of the possibility of 
success in literature. 

The statement of the affairs of Robert 
Buchanan, author and dramatist, has just been 
issued. The debtor has filed accounts showing 
unsecured liabilities of about $75,500, and no 
available assets. He states that his income, 
derived from royalties and general literary 
work, has during the last three years averaged 
about $7,500 a year. He attributes his insol- 
vency to losses and liabilities incurred in con- 
nection with theatrical speculations ; to heavy 
interest on borrowed money ; to loss by non- 
production of a play ("Dick Sheridan") in 
America, and by adverse criticisms on his dra- 
matic work; and to losses by betting. 

The unnamed author of the humorous 
" Women's Conquest of New York " is Thomas 
A. Janvier. Mr. Janvier recently sailed for 
Europe, to be gone several months. 

Paul du Chaillu is writing the history of the 
Viking voyages from 800 to the time of William 
the Conqueror. 

Francis H. Underwood died at Leith, Scot- 
land, August 7, aged sixty-nine. 

Dr. James Strong died at Round Lake, 
N. Y., August 7, aged nearly seventy-two. 

Eugene Lawrence died in New York August 
17, aged nearly seventy-one. 

Ex-Governor Charles Robinson, of Kansas, 
died at Lawrence, Kan., August 17, aged 

Mrs. Celia Thaxter died August 26 at the 
Isles of Shoals, aged fifty-nine. 

W. D. Howells was recalled from his vaca- 
tion in Europe by the illness of his father, 
Hon. W. C. Howells, who died at Jefferson, O., 
August 28, aged eighty-eight. 




Vol. VII. 


No. 10. 

Entered at the Boston Post^ffice as second-class mail matter. 

CONTENTS : pagb 

New Systbm of Filing Clippings. H^. Hull Wtstem. 145 
Mors iNCONSisTBNass of Illustration. Edward B. 

Warman 146 

Thb Hbrboity of Fiction. M. Sheffey-Ptters. . . .147 

Thb Critic MaxA.Sttinlt . . 148 

A. CRiTiasM OF •* Trilby." Eliot C. True 149 

Plaong Manuscripts. Robert Shore 150 

Onb Sidb of a Writer's Corrbspondbncb. Maym* 

laham 151 

Editorial. 153 

One of the Curiositiea of Book-reviewing, 153— A 

Literary Swindler's Frank Confession 153 


Thb Scrap Baskbt 154 

Nbwspapbr Engush Editbd 156 

Book Rbvibws 156 

Hblpful Hints and Suggestions. 158 

When Your Madlage Gives Out 158 

Literary Articles in Periodicals 158 

News and Notes 159 


A New York engineer of my acquaintance 
has made a simple solution of the difficulty 
generally encountered in collecting and classify- 
ing clippings conveniently, so they may be 
readily got at for reference. 

He has a specially designed cabinet, which 
consists of one large drawer extending over 
two-thirds of the width of the cabinet, and 
labelled, ** Miscellaneous Scraps *' ; another 
drawer of the same depth and width underneath 
the first, for a "Stock Drawer"; and two 
shelves for a series of scrap books. A number 
of smaller drawers of uniform size occupy the 
other one-third of the cabinet at one end. 

In clipping, the scraps are thrown as they are 
cut into the large "Miscellaneous Scraps" 
drawer, from which they are assorted at leisure 
and placed in the series of smaller drawers, 
each under its proper head. There are as 

many of these drawers as there are subjects to 
be covered. 

A drawer at a time is then taken in hand, 
and the clippings therein are trimmed to a 
minimum size, and pasted upon sheets of paper, 
perforated on one edge, and of uniform size. 

The clippings, of course, are pasted only 
upon one side of the sheet, with the date and 
name of the publication from which they are 
taken attached. When there is a sufficient num- 
ber of these sheets, they are assembled in proper 
order, in the form of a scrap book, with covers 
(being held together with metal fastenings or 
thread ), and these are put upon the shelves of 
the cabinet, ready for convenient reference. 
By this system it will be noticed that at no time 
are the clippings in any form in which they 
cannot be readily found, neither is there any 
time when the books may not be re-arranged. 
For this reason, it is found better not to page 
the books. 

The size of the sheets used in making up the 
books is optional with the user. Manila paper, 
such as is found in the best scrap books, is to 
be preferred. 

Each sheet should be cut with a separating 
strip or stub, one inch wide, pasted on one 
edge of it, the stub being perforated with four 
holes placed at equal distances. This keeps 
the books from widening at the opening side. 

The covers are made of cardboard, and may 
have a neatly prin|^d or stamped title. Being 
stiff, they are made with a flexible joint one 
inch from the binding edge. 

The large drawers should be about three 
inches deep. The inside dimensions of the 
smaller drawers should be sufficient to allow 
the finished books to be dropped in, if desired. 

The manila paper used for making the indi- 
vidual sheets and separating strips or stiib^^ 

Coprrigfat, 18941 by Wilujlm H. Hnxs. AXltVi^n&t 


The Writer. 

along with the scissors, mucilage, fastenings, 
etc., should be kept ready for use in the " Stock 

There seems to be little necessity for an index 
of any sort with this system of filing clippings ; 
but should an index be found desirable, an 
individual index may be made for each scrap 
book and bound in with the other sheets. As 
changes occur in the make-up of the book from 
culling, the index could be taken out and a 
newly arranged one, revised up to date, inserted. 

One of the difficulties which arise to harass 
those who have a love for clipping and collect- 
ing scraps occurs when an immense amount of 

clippings have been collected and one feels a 
desire to cull. The system I have described 
permits culling better, it would seem, than any 
other. A dozen sheets may be torn out of a 
book and the hole can be simply closed up, 
and the absence of the pages removed is never 

A good feature of the cabinet described is a 
rolling front, like that of a roll-top desk, which 
is not in the way when the cabinet is open, and 
which keeps out the dust when it is closed. It 
also serves to make it possible to lock up the 
whole afiEair with one key. 

Plainfield, n. J. IV. Hull Western. 


I was pleased with reading a few well-deserved 
criticisms on " Inconsistencies of Illustration " 
in the July issue of The Writer. While so 
doing I recalled a number of inconsistencies 
entirely beyond ray comprehension. 

I have an illustrated edition of " The Raven," 
in which the artist has depicted Poe with out- 
stretched arms and clenched hands imploring 
the raven to tell him if there is '*balm in 

" Tell me, tell me, I implore." 

The illustration bespeaks command. One 
never pleads or implores with clenched hands 
(except in pictures) if he expects to receive 
either a tangible object or an immediate answer 
to a heart-felt prayer. The hands may be 
clasped — not clenched — when anguish predom- 
inates; but even in this condition the arms 
would not be outstretched. The very nature of 
things forbids an objectiv^gesture with a sub- 
jective thought. 

In making pictures for the old, and yet 
favorite, song, " Comin* thro' the Rye," the illus- 
trator frequently falls far short of representing 
the idea of the author when he pictures the 
lassie coming through a field of rye. In this 
case the very beauty and delicacy of the song is 
)ost; ior there is nothing to cause a *' lassie " to 


shy " when coming through a field of rye, or 
wheat, or oats, or any other grain ; but there is 
cause when the bare-footed lassie, with carefully 
adjusted dress and skirts, " meets a laddie " 
while she is tip-toeing her way on the stepping 
stones across the swiftly flowing Rye of Bonnie 

In the beautiful edition of Shakespeare's 
" Seven Ages of Man," issued by a prominent 
Philadelphia publishing house, the artist has 
illustrated each character according to his con- 
ception, but not always consistently with the 

" Then a soldier, 
Full of strange oaths, bearded like a pard.*' 

I fear that the artist has not been sufficiently 
observing of pards, or he would not have given 
his hero full whiskers or a beard. 

It has always been a matter of surprise to me 
that great artists in painting angels have zlwzys 
represented them as women ; and that in paint- 
ing devils they have always represented them 
as men. 

It may be human nature for women to be 
angelic, but that does not argue that men 
are naturally devilish. 

Again. Why should an artist give wings to 
an angel? Surely wings are not essential for 

The Writer. 


the flight of a spirit ; /. /., I do not think they 

If angels have wings, and if angels can com- 
municate with their earthly friends, this world 
would not have been so long in darkness con- 
cerning the making of those appendages. No, 
indeed ! Some Yankee angel — possibly a 

Darius Green — wotld have imparted his 
knowledge long before now, and the wing ques- 
tion, or man-flight, would have been settled, 
while some Yankee brother or other friend of 
the angel would have a monopoly on wings. 

Edward B. Warman, 
Chicago, 111. 


What amount of the white and red corpuscles 
of a novelist's life's blood is used for the vivify- 
ing of the children of his brain may be surmised 
in part by reckoning the heritage of longevity 
bestowed upon the dramatis personam of the 
comedies and tragedies of his fiction. 

What portion of his nerve force he consumes 
in energizing his marionnettes ; what quantity 
of fibrine and other organic compounds he de- 
pletes himself of, for vitalizing them, is most 
surely indicated by whatever of living warmth 
and coloring he succeeds in infusing into them, 
as personalities born of himself, and endowed 
by him with the qualities and attributes of a 
multiform humanity. 

That there is a certain expenditure, of vital 
power in the production of the humblest Uriah 
Heep, nourished into being among the brain 
cells of the novelist, is a fact too well estab- 
lished to be gainsaid. 

As in the economy of a physical genesis, so 
in that of the mental ; it is the fallacious hope 
of the human mother to renew her life in her 
child's. Maternity brings its own gracious 
recompense, yet is the essence of its experi- 
mental joy closely allied to the perfume of the 
lily, which, brought to blossoming maturity, ex- 
hales the sweetest elements of its perfection in 
the initial effervescence of disintegration and 
decay. In the registry of births there is made 
but a single record of a " brain-child " evolved 
without loss of vital power on the part of the 
author of that child's being. Minerva's emer- 
gence, full dowered as a goddess, from the god- 
like forehead of Jupiter is, however, in this 

nineteenth century, relegated to its proper place 
among the myth chronicles of an age when 
nymphs and dryads tripped through the mazes 
of their "full-dress germans" to the piping of 
Pandean pipes in the forests of Arcadia. 

"Little Nell," that imperishable spirit of 
purity, was not the wearer of the helmet and 
shield of the goddess of wisdom, but none the 
less surely does her birth record entitle her to 
a place among the immortals in the realm of 
fiction. We who have had our hearts stirred by 
the touch of her fingers do not forget that her 
small life was an emanation from the brain and 
marrow of him who, with a prophet's vision of 
the pathetic tragedy to be unfolded in the brief 
span linking her birth with her death, became, 
the while, a solitary mourner in the crowded 
streets of London, saying, again and again, to 
his troubled soul : " Since she must die, would 
God she had never been born." 

In the glooms of Rochester, the morbid re- 
bellion of his spirit in the stem acceptance of 
fate's allotment to himself, there is the shadow- 
presentment of the brooding woes haunting the 
life of Charlotte Bronte. In her "Jane Eyre" 
we recognize, too, certain graces of character 
as a heritage from herself. There is the im- 
passioned temperament blended with strength 
of will and steadiness of nerve ; the impulsive 
emotions, safe anchored to a cool prudence, like 
the floating buoy chained to its bed-rock, under 
the tossing waves of a danger shoal. 

In physical reproduction even, the influence 
of heredity is usually too elusive for analysis, 
and not infrequently defies detection ; bat •%& 


The Writer. 

the scions of a race o^which for generations 
the women have been known to be beautiful 
and the men brave are more apt than otherwise 
to be gifted with the family traits, beauty and 
bravery, so the brain progeny of the novelist, 
however composite in their "make up," ex- 
hibit transmitted lineaments and characteris- 
tics enough to show that there has been a 
transfusion of blood constituents from the veins 
of the parent into the life circulation of the off- 
spring. The matrix of genius, in which was 
molded the Florentine Romola, did not fail to 
impress upon the supersensitive nature of the 
ideal woman the impress of not a few unmis- 
takable lines of resemblance to the author of 
her existence. A scholarly recluse, the devotee 
of the beautiful and true, as she wrought beauty 
and truth of the filaments of her own dreams ; 
the unyielding believer in a creed of her own 
devising ; a worshipper of images graven unto 
herself ; the rash iconoclast, never hesitating to 
break in pieces the dearest idol of her soul 
when once her eyes were opened to see the 
idol's feet of clay ; thus fashioned, was she not 
a luminous reflection of her progenitor, George 
Eliot ? 

Under the illusory charm of Tito's very hu- 
man frailties may one not find a mournful sug- 

gestion of Marianne Evans, once she had turned 
her life aside from the holier, higher ideals of 
her youth? But indices, such as have been 
cited, might be indefinitely multiplied. They 
are significant of the vital union between the 
author and the creations of his imagination. 
These creations, if they are to outlive himself, 
in nine cases out of ten, are the outward expres- 
• sion of what he is, or what he feels he might be 
capable of being in his dual nature, under the 
pressure of a given set of circumstances. As a 
student of human nature, however, the novelist 
acquires the faculty of absorbing from the asso- 
ciations of his environment, and of assimilating 
mental pabulum, that goes not only to the repair- 
ing of his waste brain tissue, but can be used 
by him as so much raw material for the recon- 
struction or reincarnation of his heroes and 

In the lifetime of a writer of novels, therefore, 
it is, perhaps, impossible to decide if he be 
gifted with the divine faculty of breathing into 
the nostrils of his creations that breath of his 
life that is to make of them living souls, en- 
dowed with the heritage of his own immortality, 
as the creator of a new order of intelligences. 

M* Sheffey-Peters. 
Univbksity of Vikginia. 


What is a critic ? Probably the most reason- 
able answer to the question is, that he is a 
terror to the beginner in literature. A critic is 
one who criticises. He is a judge in the literary 
world; he passes an opinion on the literary 
efforts of others ; he tells us if they are good, 
bad, or indifiEerent ; he is supposed to know. 

The question may be asked sometimes, how- 
ever, " Does he know ? " Well, not always. Of 
the thousands of so-called critics in the world, 
how many really know how to criticise ? Maybe 
a half a dozen; maybe a hundred; maybe a 
thousand ; but there's not one of them who is 
not confident that he knows all about it 

The greater number of this peculiar[class of 
people evidently think that criticism consists in 
judging an author's work harshly and unfavora- 
bly, — " roasting " it, in fact, to use the vernacu- 
lar of the newspaper man. Their judgment is 
supposed to be* the general opinion, and they 
never will allow for one moment that their 
judgment can be in any respect incorrect. Oh, 
no ; what they write of a new novel, a new play, 
or the performance of an actor or actress, must 
be right in all respects. They are critics ; they 
know; they have passed their opinion, and that 
is sufficient. 

You say I am wrong. You wish to exonerate 

The Writer. 


the critic, and tell me that he has made a study 
of criticism. No, gentle reader, no; the ma- 
jority of critics do not make a study of criticism, 
and that's where the trouble comes in. Like a 
batch of destroying weeds, the most of our so- 
called critics spring from a hot-bed of ignorance. 
They are given a power ; they terrorize our be- 
ginners in literature and crush much of the 
promising genius in our rising young authors. 
That's what many of our critics do. They are 

the weeds in the literary field, and if permitted 
to thrive undisturbed, they will soon occupy the 
entire ground in which our young writers are 

Fair criticism is just, but the arrogance of the 
critic, who simply " roasts," is not just — it is 
decidedly unjust, and should be discounten- 
anced. For my part, I think that the majority 
of our critics are ignoramuses and nuisances. 

San Franosco, Calif. Max A. SteitlU, 


" I have just finished reading George Du 
Manner's » Trilby.' " 

" And how does it impress you ? " 

"As a series of art sketches, — word pictures, 
— marred here and there by false strokes. 
Svengali and Trilby are masterful creations, 
consistent throughout. If the hypnotic influ- 
ence has never taken the form described, in the 
light of what is known and proven, there is no 
reason why it may not. The artist-author's 
word sketches are like his pen drawings — 
bold in outline and with little softening shad- 
ing. Little Billee is exquisitely done, from the 
first to last. I think Du Maurier should have 
wedded him with sweet Alice, and so made one 
death less in the tragic category. And he 
need n't have * married o£E ' McAlister at all, as 
his chosen one enters not at all into the tale, 
and is not given even name and habitation 
when she is dragged in at the very close. It 
is the old, tiresome way of settling everybody 
for life at the end of a story, even when no 
pretense is made of giving life histories. 

" There are covert sneers at the honesty and 
innocence, and occasionally the stupidity, of 
the Englishmen — sort of Max O'Rell dabs, as 
it were ; for instance : * British, provincial, 
home-made music, innocent little sisterly and 
motherly tinklings.' And sweet Alice, with her 
Sunday-school class and charity works, is made 
to appear tame, washed-out, and insignificant 

beside the painted, daring creatures who sit for 
models to figure painters. This impression 
might have been softened by Little Billee's 
recovery from his Parisian intoxication and 
the dressing of sober, earnest, respectable life 
in more attractive colors. Du Maurier, too, 
plainly jeers at those who love these simple 
things because they don't know any better. 

"The most inartistic thing in the whole book 
is the not infrequent allusion to *your present 
scribe ' and * the writer.' When, through much 
skilful manipulation, a climax is reached and 
the reader is held by the spell, it is about as 
effective and sudden a disenchanter to be told, 
*The writer knows nothing at all about music, 
as the reader has doubtless discovered,' as it is 
to hear the prompter behind the scenes ; or to 
have the dead on the stage, who made you cry 
with their dying, come smiling out in answer to 
plaudits ; or to get a sudden glimpse of the 
dressing room, where the costumes are assorted 
and the rouge is put on. 

" To go with an author on a little moralizing 
or philosophical side excursion is thoroughly 
enjoyable, but to run against a snag like this, 
* This is a digression, and I don't know how I 
came to do it,' gives one the sensation of being 
played upon by a guide who has appeared as 
absorbed as yourself in scenes and characters, 
but who has not for a moment lost his self- 
consciousness, as is shown by the wa^ bift. ^x^t*. 


The Writer. 

himself up when he would turn a comer and 
jostles you out of your dreamy and delightful 

" Another and kindred blemish in these alto- 
gether striking pictures is the occasional drop- 
ping into colloquialisms. Du Maurier describes 
Little Billee^s malady in quite learned fashion, 
and then mentions his * cerebrum or cerebellum 
(whichever it may be).' And speaking of 
Trilby's height, he says : * About as tall as 
Miss Ellen Terry — the right height, I think.' 
Here you are snatched from a picture in the 
Latin Quartier in the 'fifties, to behold Miss 
Terry come upon the stage and to be told that 
Du Maurier likes tall women and approves of 
Miss Terry. Of course, the * Trilby' spell is 
broken, and you feel vexed with him who did 
it, either ignorantly or maliciously. 

** Then there are such inapt quotations ! 
There are a thousand things that Trilby could 
have said at the sorrowful, critical moment, 
better and more in keeping than * I must take 
the bull by the horns,* albeit she had heard the 
expression from Taify, who painted toreadors. 
And when Little Billee saw Alice's father ap- 
proaching and felt shrunken into insignificance 
as he compared himself with him, he should 
hardly have said : * When Greek meets Greek, 

then comes the tug of war.' The sentence, 

* And the Laird wunk his historic wink,' makes 
a newspaper editor feel like reaching for his 
blue pencil, and at the same time scoring an 
over-smart reporter. * Miss Lavinia Hunks, of 
Chicago,' is very bad. American girls who pay 
for, and marry, titles are not deformed and 
squint-eyed. It is neither realistic nor reason- 
able to picture one as being so, when plenty of 
the comely and graceful stand waiting. 

" The grammatical construction of sentences 
is bad in some instances ; for illustration : * And 
each walked ofE in opposite direction, stiff as 
pokers, while Tray stood between them looking 
first at one receding figure, then another.' 

" In spite of these blemishes, which announce 
themselves plainly in a fine piece of work, 

* Trilby ' is fascinating from first to last. Du 
Manner's French slang is delicious, and his 
delineation of the art student's life in the Latin 
Quartier, which is to-day vastly like that of forty 
years ago, with changes of name and place, 
shows intimate knowledge, if not a fund of ex- 
perience. The story is airy and picturesque, 
and will easily rank as the most notable novel 
of the summer from a man's hand." 

Eliot C. True* 

Toledo, Ohio. 


I think many writers make a mistake in look- 
ing too high for a market for their first attempts 
at writing. Many writers enter the field without 
any training, and with but little capital in the 
shape of treasured-up knowledge, and yet expect 
that their first crude efforts ought to be good 
enough for the best papers or magazines in the 

A moment's thought ought to show them that 
this is expecting more than is reasonable. No 
reasonable person, having no knowledge what- 
ever of the duties of a printing ofiice, would 
think of entering a newspaper office with the 
expectation that in a few months he would be 

editor-in-chief. . It is the same in every depart- 
ment of life. The minister, the lawyer, the 
doctor, the teacher, whether in the higher insti- 
tutions of learning or in the common school, 
the artisan, in every department of skilled labor, 
all expect to begin at the bottom of the ladder 
and work their way up by honest toil, by mak- 
ing themselves worthy of a higher place. And 
why should not this be as true of writers as of 
any other workers ? 

I think it would be well for beginners, 
whether they are young or old, to send their 
first effusions to some of the less pretentious 
papers, since their contributions will be much 

The Writer. 


more likely to be accepted than if they are sent 
to leading papers. Many articles that are apt 
and in place in a good paper working in some 
humble sphere would have no value to the 
editor of a great journal. 

There is a danger here, perhaps, that we ought 
to guard against. We may think that if we 
write for a paper of the humbler sort, we need 
not be very careful as to how we write ; that 
almost anything will be good enough for a 
paper of that kind. That is not the feeling for 
any one to indulge who wishes to become a 
good writer. Do the very best you can all 
the time. For whatever paper you write, 
whether for the county paper in your own 
neighborhood or for some leading paper in 
Boston or New York, try to have your articles 
among the very best to be found in that paper. 

An editor of my acquaintance paid a flattering 
compliment to one of his contributors when he 

^aid to him : " Your articles, Mr. H , are 

inquired after, and always elicit favorable com- 
ment." That is the kind of articles that we 
should try to furnish all the time ; the very 
brightest and best to be found in the paper we 
write for, no matter what the standing of the 
paper may be. 

To summarize : Send your articles to a paper 
that will welcome them ; do no careless work, 
but let your articles be so good as to attract 
attention ; be ever aiming to " branch out " by 
sending occasional articles to papers of a 
higher standing ; work faithfully and persever- 
ingly, and the measure of success that is possi- 
ble is reasonably assured. 

BiGBLow, Minn. Robert Shore. 



(To Editor No. i.) 

My dear Editor : 

I send you a short story for the ycung 
folks ; kindly look it over. Should you find that 
you cannot use ' it for your paper, enclosed 
please find stamps for return. 

Yours fraternally, 

X. Y. Z. 


( To Editor No. 2. ) 

Dear Editor : 

Enclosed I send a short young folks' 
story. Please examine it. If it proves un- 
available, kindly return. Enclosed please find 
stamps. Very respectfully, 

X. Y. Z. 


( To Editor No. 3. ) 

Dear Editor : 

Will you please read the enclosed? If 
unavailable, please find stamps enclosed for its 
return. Yours very truly, 

X. Y. Z. 


( To Editor No. 4. ) 

Dear Editor : 

May I trouble you to read the enclosed 
short story? If not worth printing in your 
paper, enclosed please find postage for return. 

Yours truly, 

X. Y. z. 


( To Editor No. 5. ) 

Dear Editor : 

If you cannot find a use for this, enclosed 
please find postage for return. 


X. Y. Z. 


( To Editor No. 6. ) 

Dear Editor : 

Should the enclosed prove unavailable, 
kindly use it to embellish the interior of your 
waste-basket. Yours, 

X. Y. z. 

Have you ever been there, gentle writer ? 

Mayme Isham. 

Hampobn, Mass. 


The Writer. 


The Writer. 

Pmblishcd monthly by The Writer Publishing Company, 282 
^ Washington street, Rooms g and 10, Boston, Mass. 

WILLIAM H. HILLS. . . . Editor. 

%*Thb Writer is published the first day of every month. 
It will be sent, post-paid, Onb Ybar for Onb Dollar. 

*0* All drafts and money orders should be made payable to 
The Writer Publishing Co. Stamps, or local checks, should 
not be sent in payment for subscriptions. 

%*Thb Writbr will be sent only to those who have paid for 
it in advance. Accounts cannot be opened for subscriptions, 
and names will not be entered on the list unless the subscription 
•rder is accompanied by a remittance. When subscriptions ex- 
pire the names of subscribers will be taken o£F the list unless an 
order for renewal, accompanied by remittance, is received. Due 
notice will be given to every subscriber of the expiration of his 

%* No sample copies of Thb Writbr will be sent free. 

%*The American News Company, of New York, and the 
New England News Company, of Boston, and their branches, 
are wholesale agents for Thb Writbr. It may be ordered 
from any newsdealer, or direct, by mail, from the publisher. 

%* Everything that may be printed in the magaxine will be 
written expressly for it. 

%* Not one line of paid advertisement will be printed in Thb 
Writbr outside of the advertising pages. 

%• Advertising rates will be sent on request. 

%* Contributions not used will be returned, if a stamped and 
addressed envelope is enclosed. 


282 Washington street ( Rooms 9 and 10 ), 

P. O. Box 1905. Boston, Mass. 

Vol. VII. October, 1894. No. 10. 

Short, practical articles on topics connected 
with literary work are always wanted for The 
Writer. Readers of the magazine are invited 
to join in making it a medium of mutual help, 
and to contribute to it any ideas that may occur 
to them. The pages of The Writer are 
always open for any one who has anything help- 
ful and practical to say. Articles should be 
closely condensed; the ideal length is about 
1,000 words. 

Many are the curiosities of book-reviewing. 
Criticising a new book, "Talks to Children 
About Jesus," the Western Recorder of Louis- 
ville, Ky., says : " But far worse than these mis- 
takes is the deliberate insult to the Lord by 

picturing him with long hair. This insult is 
utterly without excuse, even of cheapness, for 
it is as easy to make plates for engraving with 
short hair as with long. And the Holy Spirit 
has pronounced long hair a shame to man.'' 

A letter received recently by The Writer's 
Literary Bureau* deserves more than ordinary 
attention. It reads as follows : — 

Dbbr Park, Md., September 22, 1894. 
Writer's Literary Bureau, Boston, Mass. : 

I write to ask your terms and mode of disposing of manu- 
script. I have had some success several years ago, but lately 
have been unable to dispose of manuscript, and am tired of 
writing in the dark. 

In order to test somewhat my own merit, as well as the criti- 
cal ability of prominant magazines, I have sent verse from the 
most distinguUhed English poets, — Browning, Shelley, Swin- 
burne, etc., — under my own and other unknown signatures. 
It has been returned just with the same formula, and without 
one sign 0/ rtcognitUn by the most prominant magazines in 
this country. Of course, after this I have been in despair of 
getting anything o£F on its own merits, for I am per/tctly am- 
fidant that the deception was not recognized, and if such work 
was not accepted, I could send nothing that would be. Please 
let me hear from you. I consider literary success now simply 
a matter of advertizement. The enduring quality, of course, 
depends oa value. With respect. 

I send enclosed letter as testimonial of former success. I 
have made the same experiment with prose as with verse. The 
same result, but this was not so well tested. 

The copy is verbatim, with the exception of 
the signature, which ought rightly to be printed, 
but which is withheld out of consideration for 
the feelings of the writer. It is charitable to 
assume that the action which she so frankly de- 
scribes was taken without full realization of 
what she was doing, and for that reason alone 
she is spared public exposure. In sending the 
work of well-known writers to editors under her 
own and other unknown signatures, however, 
she has both been doing a contemptible thing, 
and has made herself punishable under the laws 
which forbid attempts to obtain money under 
false pretences. She would say, of course, that 
she would have returned any money that might 
have been sent to her for a poem not her own ; 
but so might any thief, caught in an act of knav- 
ery, say that he intended to return his stolen 
goods, and that he was stealing only to see 
whether or not such a theft was possible. " The 
Editor's Story," by Richard Harding Davis, in 

The Writer. 


Harper* s Magazine for August, has a special 
application to this woman*s case. 

Apart from all moral considerations involved, 
such an experiment as that she has described 
proves nothing at all, excepting that the experi- 
menter is unworthy of respect. The rejection 
by an editor of any manuscript is no reflection 
whatever upon its merit. Availability is the 
final test which every editor applies. A manu- 
script may be perfect of its kind, beyond criti- 
cism so far as literary merit is concerned, and 
yet unavailable for a given periodical for any 
one of half a hundred reasons. " Paradise 
Lost" has made Milton's name immortal, but 
there is probably not a publisher in the world 
who would accept it for publication if it were 
offered in manuscript by its author for the first 
time to-day. Shelley's " Ode to a Skylark " is 
an exquisite bit of vivid melody, but it is quite 
conceivable that if Shelley were alive and had 
just written his ode, he might offer it in vain to 
half-a-dozen editors before he found one who 
wanted just such a poem precisely at that time. 
"John Gilpin's Ride" has been a household 
word to countless hosts of readers, old and 
young, but the editor of St. Nicholas or the 
editor of the Youih^s Companion might find it 
unavailable if it were really a new poem and 
were offered by its author for original publica- 
tion now. The editor who sent back the poem 

by Swinburne that Mrs. submitted as her 

awn production simply meant — assuming that 
he was deceived — that, however good the poem 
might be, he did not want it for his magazine. 
The chances are a thousand to one that he 
would have rejected it just the same if Mr. 
Swinburne had offered it, as a new manuscript, 

« » 

Mrs. assumes too much in feeling sure 

that she succeeded in deceiving the editors on 
whom she tried her contemptible experiment. 
She may be right in her belief, however. It is 
absolutely impossible that any editor shall have 
read everything that has been published, or 
even every famous poem, story, or essay that 
the world has known. It is more than possible 
that a given poem by Browning, for example, 
should be new to five out of six editors of lead- 

ing magazines — and it would not be in the least 
to their discredit if it were so. Editors gen- 
erally are widely read, but no human being can 
have read everything, or even every good thing 
that has been written. Still, it is rather possible 

than probable that the editors whom Mrs. 

approached under false pretences were deceived 
by her. They may only have thought her trick- 
ery to be beneath contempt. 

« » 
The important lesson of the whole matter is 
that availability, and not merit alone, is the test 
which every editor applies to every manuscript 
submitted to him for publication in the periodi- 
cal which he conducts. Literary success is not 
"simply a matter of advertizement," or of ad- 
vertisement, either. It is conceivable that the 
same editor who rejected Browning's poem 
when Mrs. offered it might accept an orig- 
inal poem of hers, if she should send it to him. 
She says herself that she has had some success 
in former years, and the "letter" to which she 
refers in her postscript is a manifold circular 
from a biographical cyclopaedia maker saying 
that she is entitled to a place in his valuable 

work. w. H. H. 



[ Questions relating to literary work or literary topics will be 
answered in this department. Questions must be brief, and 
of general interest. Questions on general topics should be 
directed elsewhere.] 

In writing a story is it well to introduce let- 
ters which throw light on the tastes and life of 
the characters, but do not elucidate the plot ? 

A. H. M. c. 

[ Theoretically, everything that is introduced 
in a story should serve to elucidate the plot. 
Practically, anything may be introduced that 
tends to make the story interesting. If letters 
which throw light on the tastes and life of the 
characters, but do not elucidate the plot, en- 
hance the interest of the narration, the author 
will do wisely, by all means, if he puts them in. 
— w. H. H.] 

Can you devote space in your next issue to 
giving your opinion on this point — whether it 
IS better for a writer to keep to his 'own signa- 
ture and not write under any assumed names ? 
Is it better to lose no opportunity of letting 


The Writer. 

your name be seen, or to allow yourself to be 
Known only by your best work ? Anthony Trol- 
lope advised the former course, on the ground 
that if you take a second name, you only have to 
work up a second reputation. Besides, one dis- 
likes the appearance of doing anything one is 
ashamed to own. On the other hand, work may 
be good of its sort, yet be of an inferior sort, 
and one cannot always be at his best. Perhaps 
the two-name arrangement is merely a business- 
like one. But the point upon which I seek light 
is this — would, or would not, the editor of a 
review, or of one of the leading magazines, if he 
received an essav on Ibsen's heroines or a good 
story or poem, oe prejudiced against it if he 
recognized the author as having written comic 
verses or an article on stocking-darning? I 
don't know why he should, since versatility is a 
good thing in itself, and probably editors of 
reviews do not read either the comic or the 
domestic papers. Feeling sure that a great 
many of your readers are interested in this mat- 
ter, I hope you will make room for my ques- 
tions and your advice at an early date. 

M. H. F. L. 

[ The question of the writer's signature was 
fully discussed by the editor of The Writer 
in an article published in the number of the 
magazine for February, 1888. This article is 
commended to the attention of " M. H. F. L." 
and others who are interested in the subject. 
It was said there that " Sometimes an author 
who has won fame in some special way may 
find it to his advantage to do writing of another 
kind anonymously or under a borrowed signa- 
ture. ... As a rule, the writer who means 
to make writing a business will find it to his 
advantage to put his signature to everything he 
writes, and to make that signature as widely 
known as possible. . . . Some brains may be 
weighty enough to make more than one name 
immortal, but the trouble is generally of another 
kind. Writers who have habitually used more 
than one name have generally acknowledged 
their error after a time, and have devoted them- 
selves to one signature, dropping all the others." 
It may be, however, that if one is versatile 
enough to be able to write housekeeping arti- 
cles, comic verses, critical analyses of Tolstoi, 
and essays on the differential calculus, the use 
of more than one signature will be advisable. 
As a matter of fact, one writer rarely excels in 
so many different lines, and if he does all of 
tAese things, the chances are that he does not 

do any one of them surpassingly well. The 
presumption is, therefore, that if he does them 
all, he does them all indifferently, and for that 
reason his reputation in any one department 
suffers because of the reputation he has gained 
in other lines. The versatile man is usually 
surpassed by the specialist in any line of work 
that he may undertake. If, therefore, a writer 
is engaged in two kinds of work utterly dis- 
similar, — like joke-writing and serious critical 
work, for instance, — it may be well for him to 
have two signatures, one for each style of 
work. — w. H. H.] 


The statute of the late Frederick T. Frelinghuysen, Secretary 
of State under President Arthur, was unveiled at Newark 
recently. The statute stands in the upper end of the park oppo- 
site the Essex Club and within sight of the Frelinghuysen man- 
sion, which is at the north end of the park. 

Now that The Writer has undertaken to 
edit "newspaper English," what has it to say of 
the paragraph above, taken from an archi- 
tectural periodical? If the "statute" had not 
been repeated, it might have passed for a typo- 
graphical blunder. As it stands, does it imply 
an attempt at dialect writing? a. h. n. 

Nbw Orleans, La. 

The "index expurgatorius " of William Cul- 
len Bryant, recently asked for in The Writer, 
is as follows : — 

Over and above (for " more than " ). 
Artiste (for "artist"). 
Beat (for "defeat"). 
Bagging ( for " capturing " ). 
Balance ( for " remainder " ). 
Banquet ( for " dinner " or " supper " ). 

Casket ( for " coffin " ). 
Claimed ( for " asserted " ). 

Commence (for " begin " ). 

Cortege ( for " procession "). 
Cotemporary ( tor " contemporary " ). 
Couple ( for " two " ). 
Darkey ( for " negro " ). 
Day before yesterday (for "the day before 
Decrease ( as a verb ). 

The Writer, 


Democracy ( applied to a political party ). 

Develop ( lor " expose " ). 

Devouring element ( for " fire " ). 



Enacted ( for " acted " ). 

Endorse ( for " approve " ). 

En route. 


Graduate (for "is graduated "). 

Gents ( for " gentlemen " ). 


House ( for " House of Representatives " ). 


Inaugurate ( for " begin " ). 

In our midst. 

Item (for "particle," "extract," or "para- 
graph " ). 

Is being done, and all passives of this form. 


Jubilant (for "rejoicing "). 

Juvenile (for " boy " ). 

Lady ( for " wife *0- 

Last (for "latest"). 

Lengthy (for "long"). 

Leniency (for "lenity"). 


Loan or loaned ( for " lend " or " lent " ). 


Majority ( relating to places or circumstances, 
for "most"). 

Mrs. President, Mrs. Governor, Mrs. General, 
and all similar titles. 

Mutual ( for " common " ). 

Official ( for " officer " ). 


On yesterday. 

Over his signature. 

Pants ( for " pantaloons " ). 

Parties ( for " persons " ). 

Partially ( for " partly " ). 

Past two weeks (for "last two weeks," and 
all similar expressions relating to a definite 


Portion ( for " part " ). 

Posted (for "informed"). 

Progress (for "advance ). 

Reliable (for "trustworthy"). 

Rendition ( for "performance "). 

Repudiate (for " reject " or "disown "). 

Retire (as an active verb). 

Rev. ( for " the Rev." ). 

R61e ( for " part " ). 




Sensation (for "noteworthy event " ). 

Standpoint (for "point of view " ). 

Start, in the sense of setting out. 

State (for "say"). 


Talent ( for " talents " or " ability " ). 



The deceased. 

War (for "dispute " or "disagreement"). 

A host of readers of The Writer have 
answered the question of " G. W. S.," asked in 
the September number, about the poem begin- 

" Tell me, ye wingM winds." 

The poem is by Charles Mackay, and Olivia 
T. Closson, of Washington, D. C, sends a copy 
of it, as follows : — 




Tell me, ye vringM winds, 

That round my pathway roar, 
Do ye not know some spot 

Where mortals weep no more ? 
Some lone and pleasant dell, 

Some valley in the west. 
Where, free from toil and pain, 
The weary soul may rest ? 
The loud wind dwindled to a whisper low, 
And sighed for pity as it answered, " No." 

Tell me, thou mighty deep, 

Whose billows round me play, 
Know'st thou some favored spot, 

Some island far away, 
Where weary man may find 

The bliss for which he sighs, — 
Where sorrow never lives, 

And friendship never dies? 
The loud waves, rolhng in perpetual flow, 
Stopped for a while, and sighed to answer, " No. 

And thou, serenest moon. 

That with such lovely face 
Dost look upon the earth, 

Asleep in night's embrace. 
Tell me, in all thy round 

Hast thou not seen some spot 
Where miserable man 
May find a happier lot ? 
Behind a cloud the moon withdrew in woe, 
And a voice, sweet but sad, responded, " No." 

Tell me, my secret soul, 

Oh, tell me, Hope and Faith, 
Is there no resting-place 

From sorrow, sin, and death ? 
Is there no happy spot 

Where mortals may be blest. 
Where grief may find a balm. 

And weariness a rest ? 
Faith, Hope, and Love, best boons to mortals given, 
Waved their bright wings, and whispered, " Yes, in heaven.'' 

The poem may be found in " The Fireside 
Encyclopaedia of Poetry," edited by Henry T. 
Coates, and published by Porter &. 0«!m«., 


The Writer. 

Philadelphia; in " Swinton's Fifth Reader" 
(p. 422), published by Ivison, Blakeman, & Co., 
New York and Chicago ; in Bryant's ^* Library 
of Poetry and Song " ( p. 268 ) ; in " Parker's 
National Fifth Reader," published by A. S. 
Barnes & Co., New York and Chicago ; and in 
Charles Mackay's collected poems. Charles 
Mackay, LL. D., is a Scottish author, born at 
Perth in 181 2, and lately residing at Fern Dell, 
near Dorking, county of Surrey, England. He 
has written several volumes of poems and a 
number of works in prose. The original title 
of his poem was "The Inquiry." 


Between to-day and May i 
we will eat 4,000 bushels of 
oysters a day, and they will 
average 250 oysters to a bush- 
el, or an average of 10,000,000 
oysters a day. — New York 

Between to-day and May i 
we shall eat 4,000 bushels of 
oysters a day, and they will 
average 350 oysters to a bush- 
el, or an average of 10,000,000 
oysters a day. 

Ex-Senator Piatt got the 
news at Coney Island that 
Mr. Morton had decided to 
be a candidate by telephone, 
but he had no comment to 
make. — New York Herald. 

Ex-Senator Piatt eot the 
news at Cpney Island by tel- 
ephone that Mr. Morton had 
decided to be a candidate, but 
he had no comment to make. 

Campania's Good Run — 
She !■ ailed, However, to 
Again Lower the Record. — 
New York Herald Head- 

Campania's Good Run — 
She Failed, However, Again 
to Lower the Record. 

The house contains eleven 
rooms, and is arranged for 
one or two families with all 
modem improvements. — Bos- 
4on Auctioneer's Advertise- 

The house contains eleven 
rooms, and is arranged for 
one or two families. It has 
all modern improvements. 


N. W. Aver & Son's American Newspaper Annual for 
i893-g4. 1,481 pp. Cloth, ^5.00. Philadelphia: N. W. 
Ayer & Son. 

Aver's " Newspaper Annual," always a stan- 
dard book, is belter this year than ever before, 
since the date of publication has been changed 
from September i to the end of December, thus 
bringing the information that the book contains 
up to the date which it bears. The present 
volume is dated 1893-94. Next year's volume 
will be dated 1895, and so on. The work is best 
described by its title page, which speaks of it 
as "a catalogue of American newspapers, a 
caref ullv-prepared list of newspapers and period- 
icals puolished in the United States and Canada, 
with information regarding their circulation, 
issue, date of establishment, political or other 

distinctive features, names of editors and pub- 
lishers, and street addresses in cities of 50,000 
inhabitants and upward, together with the popu- 
lation of the counties and places in which the 
papers are published, and a description of everv 
place in the United States and Canada in which 
a newspaper is published." There are also 
separate lists of religious and agricultural publi- 
cations and the various class publications, lists 
of the press and editorial associations of the 
United States and Canada, etc. In all there are 
20,774 periodicals classified, and 4,500 changes 
have been made from the previous year's edition. 
To writers the value of such a book is evident, 
since it gives all the information about all the 
periodicals of the country that is required by 
those who have manuscripts to sell, and are 
looking for new markets. To the general con- 
tributor to the press a directory of this kind is 
almost indispensable. w. h. h. 

The Book of the Fair. An historical and descriptive pres- 
entation of the world's science, art, and industry, as viewed 
through the Columbian Exposition at Chicago m 1893. By 
Hubert Howe Bancroft Part XI. 40 pp. Paper, $1.00. 
Chicago and San Francisco : The Bancroft Company. 1894. 

Part XI. of the sumptuous Bancroft "Book 
of the Fair " completes the description of the 
electrical department at the Chicago Exposi- 
tion, and begins the description of the depart- 
ment horticulture and forestry. The 
high standard of the previous issues of the 
work is fully maintained. Some of the half- 
tone pictures of the horticultural exhibits are 
particularly beautiful, two of the most notable 
of all being that of the bed of Texas cacti, and 
that of the Australian tree ferns. The full-page 
illustrations are pictures of the Franklin statue ; 
the Electricity building, north front ; the Edi- 
son electric tower ; the east entrance, Horticul- 
tural building; a group of botanical exhibits; 
the Horticultural building from the southeast 
corner; and the exhibits from the Gould con- 
servatory. Horticultural hall. w. h. h. 

Public Libraries in America. By William I. Fletcher. 
Illustrated. 169 pp. Cloth, $1.00. Boston: Roberts Bros. 

Probably nobody in this country knows any 
more about public libraries than Mr. Fletcher, 
and for that reason his book on " Public Libra- 
ries in America," which is the second volume 
of the Columbian Knowledge Series, possesses 
special interest. It begins with an historical 
sketch of the public library movement, and 
goes on to discuss library buildings, classifica- 
tion and catalogues, selection and purchase of 
books, reference work, special collections, and 
all the details of library work and management. 
Representative libraries are discussed, and 
there are a number of pictures of leading libra- 
ries and librarians. There is a special chapter 
treating of the librarian, his work, and his train- 
ing for it, and another chapter gives informa- 

The Writer. 


tion about the American Libraiy Association. 
In the appendix the Sundav opening of libra- 
ries, gifts to libraries, and library rules are dis- 
cussedf and a scheme of classification and some 
statistics of libraries are given. Mr. Fletcher 
ssLjs, by the way, that of the 3,804 libraries re- 
ported by the United States Bureau of Educa- 
tion only 566 are in a true sense public. His 
book throughout is both a valuable and an in- 
structive one. w. H. H. 

Slat and Moslem. By J. Milliken Napier Brodhead. 30 
pp. Cloth. Aiken, S. C. : Aiken Publishing Co. 1894. 

It is a pity that " Slav and Moslem " has not 
been brought out in better style, so far as typo- 
graphical appearance and binding are con- 
cerned, for the evident amateurishness of both 
printer's and binder's work unconsciously prej- 
udices the reader aeainst the book. When he 
' comes to examine the work carefully, however, 
the reader finds that it is well worthy of serious 
attention. Mr. Brodhead has made a thorough 
study of Russian history and of the conditions 
existing in the land of the czar to-day, and he 
explains intelligently both why the development 
of Russia up to within the last half centurv has 
been so slow, and what the future ot the 
country is to be. Mr. Brodhead's view of Rus- 
sia is very different from that which writers like 
George Kennan take. Recognizing the crudi- 
ties and anomalies of her civilization, he won- 
ders only, " not that she is behindhand in some 
things, but that she should already have done 
so much toward retrieving the past, and have 
become a leading factor in the politics of 
Europne to-day, and perhaps the arbiter of its 
destinies in the future." Mr. Brodhead's knowl- 
edge of Russia is evidently an intimate one, 
ana his book deserves the careful attention of 
all who desire to get an accurate idea of exist- 
ing conditions in the czar's dominions. 

w. H. H. 

Thb Whitb Crown, and Othbr Storibs. By Herbert D. 
Ward. 336 pp. Cloth, $1.25. Boston : Houghton, Mifflin, 
& Co. 1894. 

Besides the title-story, this volume of Mr. 
Ward's latest work includes "The Semaphore," 
" The Value of a Cipher," " A Romance of the 
Faith," "Only an Incident," "A Cast of the 
Net," " The Equation of a Failure," and " The 
Missine; Interpreter." "The Semaphore " is a 
particularly strong and vivid story of railroad 
life — by far the most interesting in the book. 
"The White Crown" is a fanciful dream of 
universal peace. w. h. h. 

His Vanishbd Star. By Charles Egbert Craddock. 394 pp. 
doth, #1.25. Boston : Houghton, Mifflin, & Co. 1894. 

Miss Murfree's word pictures of life and 
character in the Tennessee mountains are as 
graphic and lifelike in her latest book as they 
were in her first published story. " His Van- 
ished Star " is full of incidents and character 

sketches that fascinate the reader, and although 
dialect stories are looked on with disfavor now, 
this novel is certain to be widely read. As in 
her former work. Miss Murfree gives her de- 
scriptive faculties altogether too much exercise, 
so far as Tennessee mountain scenery is con- 
cerned, but the reader who skips judiciously 
may easily do for himself what the author 
should have done before the manuscript left 
her hands. Altogether "His Vanished Star" 
is sure to increase the literary reputation of its 
author. w. h. h. 

My Summbr in a Mormon Villagb. By Florence A. Mer- 
riaxn. 171 pp. Qoth, |i.oo. Boston: Houghton, Mifflin, 
& Co. 1894. 

"My Summer in a Mormon Village" is a 
pleasant narrative of a quiet summer spent in 
Utah, and gives unprejudiced views of home 
life among the Mormons. A picture of Lake 
Blanche, Big Cottonwood Cafion, makes a 
beautiful frontispiece for the book. w. h. h. 

Thb Two-lbggbd Wolf. A romamce. By N. N. Karasin. 
Translated from the Russian by Boris Lanin. 322 pp. 
Cloth, li.oo. Chicago : Rand, McNally, & Co. 1894. 

" The Two-legged Wolf " is a wild romance 
of camp and desert life, the scene being laid in 
central Asia at the time of the Russian advance 
against the Khan of Khiva. The plot is inter- 
esting, and the story is dramatically told. A 
romantic love story runs through the book, and 
there are many vivid pictures of Russian mili- 
tary life. w. H. H. 

LiTTLB Miss Faith. By Grace Le Baron. 174 pp. Qoth, 
75 cents. Boston : Lee & Shepard. 1894. 

"Little Miss Faith" is an attractive intro- 
duction to a series of three 'volumes to be 
known as the Hazelwood Stories, and relates 
the incidents of a country week at Falcon's- 
height, where the ten-jrear-old heroine is the 
guest of another little girl at her country home. 
Among older people the book will appeal to 
those who are interested in finding summer 
homes for city children, and juvenUe readers 
are sure to be delighted with it. w. h,, h. 

Brothbr Against Brothbr ; or, Thb War on thb Bordbr. 
Bv Oliver Optic. 451pp. Cloth, 1 1.50. Boston: Lee& 
Snepard. 1894. 

For boy readers " Oliver Optic's " books pos- 
sess unfailing interest. This new story is the 
first volume of the Blue and the Gray Army 
Series, which will include six volumes, thoueh, 
as the author says in his preface, " the number 
is contingent upon the longevity of one, still 
hale and hearty, who has passed oy a couple of 
years the Scriptural limit of * threescore years 
and ten' allotted to human life." Surely sdl 
boy readers will hope that "Oliver Optic" will 
be able for many years to come to give them 
periodically stories as full of fascinating inter- 
est as those that he has been writing for the 
last forty years. The scene of " BrotbA.'t 


The Writer. 

Against Brother " is laid in Kentucky and the 
time of the story is that of the beginning of the 
civil war. No boy can fail to be attracted by 
the book. w. h. h. 

Thb Flowbr op Forgivbnrss. By Flora Annie Steel. 355 
pp. Cloth, $1.00. New York: Macmillan & Co. 1894. 

Sixteen short stories are included in this vol- 
ume, the first of which gives the title to the 
book. Their scenes are laid in India, and they 
illustrate many different phases of Hindoo 
character looked upon from an altogether differ- 
ent point of view from that which Rudyard 
Kipling takes. Mrs. Steel's acquaintance with 
Hindoo methods of thought is evidently inti- 
mate, and her pictures of native Indian life are 
vivid and clear-cut. The book is marked by.the 
same merit that characterized "Miss Stuart's 
Legacy " and " The Potter's Thumb." 

W. H. H. 

Thb Story of Margr^dbl. By David Storrar Meldrum. 
Third edition. 36gpp. Paper, 50 cents. New York : G. P. 
Putnam's Sons. 1894. 

Mr. Meldrum's "fireside history of a Fife- 
shire family " has won its welcome, and needs 
no commendation here. It is a charming story, 
and throughout it is exquisitely told. 

w. H. H. 


[ All books sent to the editor of Thb Writer wiH be a^ 
knowledged under this heading. They will receive such farther 
notice as may be warranted by their importance to readers of 
the magazine.] 

Miss Hurd : An Enigma. By Anna Katharine Green. 357 
pp. Paper, 50 cents. New York : G. P. Putnam's Sons. 


Sorrow and Song. By Coulson Kemahan. 156 pp. Q«th, Philadelphia: J. B. Lippincott Company. 1894. 

Thb Pbarl of India. By Maturin M. Ballon. 335 pp. 
Cloth, ^1.50. Boston : Houghton, Mifflin, & Co. 1894. 

A Florida Sketch-book. By Bradford Torrey. 242 pp. 
Qoth, I1.25. Boston : Houghton, Mifflin, & Co. 1894. 

Thb Chase op Saint-Castin, and Other Tales. By 
Mary Hart well Catherwood. 266 pp. Qoth, Bos- 
ton : Houghton, Mifflin, & Co. 1894. 

The Great Keinplatz Experiment, and Othbr Stories. 
By A. Conan Doyle. 23a pp. Paper, 25 cents. Chicago : 
Rand, McNally, & Co. 1894. 

The Flying Halcyon. By Richard Henir Savage. 300 pp. 
Paper, 50 cents. Chicago : F. Tennyson Neely. 1894. 

Good Night, Schatz. In one act. By Adolf Hepner. 47 
pp. Paper, as cents. St. Louis : St. Louis News Co. 1894. 

The Universal Name; or. One Hundred Songs to Mary. 
Selected and arranjged bv Mrs. E. Vale Blake. 149 pp. 
Qoth. Buffalo : Charles Wells Moulton. 1894. 


When Your Mucilage Qives Out. — Should 
you ever have the misfortune to need some 
mucilage when the bottle is empty and you 

have not the time or patience to make paste, 
simply moisten the flap of some unused en- 
velope, scrape ofiE the glue with a knife blade, 
and spread it upon the paper you wish to paste. 

Try it. Maynu Isham, 

Hampden, Mass. 



[The publisher of The Writer will send to any address a 
eopy of any magazine mentioned in the following reference list 
on receipt of the amount given in parenthesis following the name 
— the amount being in each cue the price of the periodical, 
with thrtt ctnis ^stagt tidded'. Unless a price is given, the 
periodical must be ordered from the publication office. Readers 
who send to the publishers of the periodicals indexed for copies 
containing the articles mentioned in the list will confer a favor 
if they will mention The Writer when they write.] 

Poetry and Science. Professor William H. Hudson. 
Popular Scunce Monthly ( 53 c. ) for October. 

Telegraphy Up to Date. George J. Vamey. Lippmcoifs 
( 28 c. ) for October. 

The Romantic Novel* — Mr. Howells' Reminiscences. 
Charles Dudley Warper. Editor's study. Harper's (38c) 
for October. 

Charles A. Dana. Edward P. Mitchell. McClur^s 
Ma£asine ( 18 c. ) for October. 

Anthony Hope. Current Literature ( 28 c. ) for October. 

Joanna E. Woods. Gilson Willetts. Current Liierature 
(a8c. )for October. 

Arthur Conan Doyle. With portrait. Frederick Dol- 
man. Ladies^ Home Journal (13 c.) for October. 

James Matthew Barrie. With portrait. Frederick Dol- 
man. Ladies* Home Journal ( 13 c. ) for October. 

My Literary Passions. W. D. Howells. Ladies" Home 
Journal ( 13 c. ) for October. 

Disraeli's Place in Literature. Frederick Harrison. 
Forum ( a8 c. ) for October. 

Has Oratory Declined? Henry L. Dawes. Forum 
( a8 c. ) for October. 

Cacoethes Scribbndi. The Point of View. Scribner*s 
(28 c. )for October. 

The Newspaper Press op Europe. H. R. Chamberiain. 
Chautau^uan ( 28 c. ) for October. 

Harriet Beecher Stowe. With portrait. Popular Edu- 
cator ( 13 c. ) for September. 

Pioneer Printers op America. S. R. Davis. Paper and 
Press ( 18 c ) for September. 

The Evolution op Illustrating. — IL H. M. Duncan. 
Paper and Press ( x8 c ) for September. 

Mrs. Euzabetm A. Reed. Charles Ritch Johnson. 
Journalist ( 13 c. ) for August 25. 

The American Press AssoaATXON. Fourth Estate ( 13 c.) 
for August 30. • 

How Type Is Made. Fourth Estate ( 13 c ) for Septem- 
ber 13. 

A Cure for Writer's Cramp. Phonographic Journal 
( Port Jervis, N. Y. ) for August. 

John Latey and the London Penny Illustrated 
Paper. Sketch for August 8. 

A Fallacy op the Reausts. Richard Burton. Congrr 
rationalist for August 23. 

The Writer. 


Thb Litbrary Motif of thb Puritans. C. Lauren 
Hooper. Interior for August 23. 

Waltbr Patbr. Louis Dyer. Nation for August 23. 

Edith M. Thomas. Viola Roseboro. Cincinnati Trilmn*, 
St. Louis Republic for August a6. 

Cbua Parkbr Woollby. Hart/ord (Conn.) Telegram 
for August 28. 

Thb Penny Wbbklibs op London. Jeannette L. Gilder. 
Independent for August 30. 

Virginia Woodward Cloud and Lizbttb Rbbsb. Paul- 
ine Carrington Rust. Boston Transcript for September i. 

Cy Warman. Reprinted from Chicago Times in Louisville 
Courier-Journal for September 2, and in Philadelphia Press 
for September 4. 

How TO Bbcomb a Journalist. John Palmer Gavit. Gol' 
den Rule for September 6. 

John Bur roughs. With portrait. Outlook.iot September 15. 

Thb Western Writers' Association. Ida May Davis. 
Indianapolis Journal lot September 16. 

S. R. Crockett. With portrait. Outlook for September 22. 

Literary St. Paul. Rev. John Conway. Midland 
Monthly ( 18 c. ) for September. 

The Historical Novel. George Saintsbury. Reprinted 
from Macmillan^s Magazine in LitteWs Living Age (ai c ) 
for September 15. 

Celia Thaxtbr. With portrait. Eleanor V. Hulton. 
Harper's Bazar ( 13 c. ) for September 8. 

Reminiscences of Celia Thaxtbr. Harriet Prescott 
Spofford. Harper s Bazar ( 13 c ) for September 15. 

Thb Late Eugenb Lawrence. With portrait. Harper's 
Weekly ( 13 c. ) for September i. 

The Boston Public Library. Sylvester Baxter. Har- 
per's Weekly ( 13 c. ) for September aa. 

Reproducing Pictures for Printing. Harper's Young 
People (8c.) for September 4. 

Authorship and Grammar. E. R. Latta. Literary 
Weekly (13 c.) for September 6. 

Mrs. Lydia Hoyt Farmer. With portrait. Literary 
Weekly ( 13 c. ) for September 6. 


The illness of Stopford Brooke has made 
necessary the abandonment for the present of 
his visit to this country. 

A new magazine, called the Bosionian, is to be 
published in Boston, beginning this month. Its 
editor will be Arthur Wellington Brayley, and 
the periodical will be devoted mainly to the 
past and present interests of Massachusetts, 
and of Boston in particular. A novel feature 
of the publication will be the issuing of two 
editions, one in paper covers, at the price of 
fifteen cents, and another in cloth binding, at 
twenty-five cents. 

The Spirit 0/^76 is a new illustrated monthly 
magazine published at 14 Lafayette place. New 
York, and edited by William H. Bearley. It is 
devoted to patriotic objects. 

G. O. Shields ("Coquina"), the author of 
" Rustlings in the Rockies," " The Big Game 
of North America," ** Cruisings in' the Cas- 
cades," and several other popular works on 
field spoits, has started a new magazine, called 
Recreation, It is devoted to hunting, fishing, 
and all out-door sports, and is published at 216 
William street. New York. 

The Picture Magazine of New York is a new 
monthly publication, made up of eighty pictures, 
with only a line or so of letter-press under each. 
H. P. Hubbard is the editor. A similar maga- 
zine in England has been very successful. 

Boston has a new colored cartoon weekly, 
Brother yonathan. The illustrations deal with 
subjects similar to those handled by Puck and 
yudge, but the process used is similar to that 
employed by Truth, Moses Reuben is the 

Articles of incorporation have been filed at 
Baltimore by the Patriotic Literature Publish- 
ing Company, capital stock, $5,000. The com- 
pany was incorporated for the purpose of print- 
ing publications and the sale of newspapers, 
books, and magazines. The incorporators were 
Walter Vrooman, Robert B. Golden, Charles 
H. Myers, James Duncan, and Lawrence 

Robert Louis Stevenson thinks it is of the 
first importance to the novelist to be well ac- 
quainted with the scenes of his stories. " The 
author," he tells us, " must know his country- 
side, whether real or imaginary, like his hand ; 
the distances, the points of the compass, the 
place of the sun's rising, the behavior of the 
moon, should all be beyond cavil." 

" Curtis Yorke's " real name is Mrs. John 
Richmond Lee. Mrs. Lee was born and edu- 
cated in Glasgow. 

Miss Annie Holds worth, whose first story, 
" Joanna Traill, Spinster, " was published some 
months ago, edits the Woman's Signal in 
London and is associated with Mr. Stead in 
the literary work of the Review of Reviews, 

Jerome K. Jerome has retired from the ed- 
itorship of the Idler in favor of his assistant, 
Robert Barr. Mr. Jerome has his hands full 
with his weekly. To-day. 


THE Writer. 

Thomas Bailey Aldrich has been writing 
poetry since 1856, when he produced a small 
volume ol ballads. He was then a clerk in a 
New York counting-room. 

George W. Cable has named his summer 
home at Northampton, Mass., " Stayawhile." 

Among the new books announced by G. P. 
Putnam's Sons are : " American Song," a col- 
lection of representative American poems, -with 
analytical and critical studies of their writers, 
edited by A. B. Simonds; "Five Thousand 
Words Commonly Misspelled," by W. H. P. 
Phyfe ; and " The Best Recent Books," a priced 
and classified bibliography, covering the publi- 
cations of the year ending December 31, 1893, 
and being a supplement to " The Best Books," 
edited by W. Swan Sonnenschein. 

" M. E. Francis " is in private life Mrs..Blun- 
dell, and resides at Crosby Hall, near Blundell- 
sands, Lancashire. 

That science affects profoundly even litera- 
ture is ably shown in the Popular Science 
Monthly for October by Professor W. H. 
Hudson, of Stanford University, in a paper on 
" Poetry and Science." Tennyson, he says, is 
the poet who has most intelligently accepted 
the results of modern scientific thought. 

Charles A. Dana, editor of the New York 
Sun^ is the subject of a comprehensive and 
interesting biographical study, by Edward P. 
Mitchell, Mr. Dana's chief associate on the 
Sun^ in McClure's Magazine for October. 
Views of Mr. JDana's office and of his country 
home on Long Island and an interesting series 
of portraits of him accompany the article. 

The gibberish that sometimes appears in the 
middle of a sentence or a paragraph, in news- 
papers that use the type-setting machines, sim- 
ply means a space left blank to be filled up in 
the corrected proof. The compositor throws 
the tjrpe in higgledy-piggledy, just to keep the 
required space ; occasionally the proof is not 
corrected, and so the jargon slips into the 
newspaper. The Boston Transcript ohstrvts, 
apropos of these slips : " When one reads that 
« John Blank, while a man of great wealth, was 
nevertheless a hyzmnpfctl man,' one feels that, 
though it may be perfectly true, it ought not to 
be said, under the circumstances." 

Rand, McNally, & Co. have in press the 
copyright edition of a. new novel, entitled "The 
Birth of a Soul," by Mrs. A. Phillips, author of 
" Man Proposes." 

The Bookseller^ Newsdealer^ and Stationer 
(New York) for September 15 is the "fall an- 
nouncement number," and contains a complete 
revised price list of all domestic and foreign 
publications handled by the trade through the 
news companies. 

The schedules of Charles L. Webster & Co., 
book publishers, New York, of which firm 
Samuel L. Clemens (Mark Twain) and Fred- 
erick J. Hall were the partners, show liabilities, 
$94,191; nominal assets, $122,657; net actual 
assets, $54,164. 

The New Education (New York) o£Eers 
prizes amounting to $725, to subscribers only, 
for the best articles on educational topics sub- 
mitted before December 31, 1894. 

Richard Harding Davis was thirty years old 
last April. 

"An Intra-mural View of the Ladies' Home 
Journar' is a beautifully printed and illustrated 
pamphlet describing the Home /ournaPs publi- 
cation building. The Curtis Publishing Com- 
pany, Philadelphia, will send a copy to any one 
on receipt of four cents in stamps. 

The Magazine of Poetry (Buffalo) for Sep- 
tember contains sketches of Bret Harte, Jean 
La Rue Burnett, Henry Coyle, Nora Perry, 
S. Jennie Smith, Mary Clemmer, Frederic 
Allison Tupper, and other writers. 

Besides a photogravure frontispiece and other 
attractive features, the Magazine of Art { New 
York ) for October has two especially interest- 
ing articles, " How and What to Read — Ad- 
dressed to Art Students," by J. E. Hodgson, 
R. A., and " International Exhibition of Book- 
bindings," by Will H. Edmunds, with many 

One of the handsomest summer resort periodi- 
cals ever issued is the Adirondack News and 
Tourist, published weekly during the Adiron- 
dack season by F. G. Barry, Saranac Lake, 
N. Y. It is a model publication of its kind. 

Professor Josiah P. Cooke, of Harvard Col- 
lege, died at Newport, September 3. 




Vol. VII. 




Entered at the Boston Post-office as second-^lass vail yATTER. 

CONTENTS : page 

Personal Tributbs to Dr. Holmbs x6i 

P. B. SanboTHt Charles Dudley Warner ^ Edward 
Eggleston^ Hjalmar Hjorth Boyesen^ W. H. Fur- 
neut C. A. Bartol, G, IV. Cable ^ Oscar Fay Adams, 
S. F. Smitht Frank L, Stanton, Noah Brooks, 
Charles King, Margaret Sidney, Julia C. R. Dorr, 
Samuel Minium Peek, Elbridge S. Brooks, Donald 
G. Mitchell, Jas. Jeffrey Roche, Nathan Haskell Dole, 
Nicholas P. Gilman, Waiiam H. Hayne, Joel Ben- 
ton, Grace King, Caroline H. Dall, Edgar Fawcett, 
Richard Burton, Junius Henri Browne, A rlo Bates, 
Ella Wheeler Wilcox, Hamlin Garland, Hamilton 

W. Mabu, J. T. Trowbridge i6i 

Editorial. i68 

Oliver Wendell Holmes, i68 — Value of a Newspaper's 
Title, x68 — Foreign Phrases in English Writing. . . i68 
A Lbttbr from Dr. Holmbs. Edward Everett Hale. 169 

QtJBRIBS. 169 

Thb Scrap Basket 169 

Book Reviews 170 

LiTEEARY Articles in Periodicals 173 

News and Notes 174 



These personal tributes to the memory of Dr. 
Holmes, by leading American writers, have 
been written at the request of the editor of 
The Writer ; — 


Poet and Wit ! with heartiest love for Man, 
Narrowed at first in range, — but wider flowing 

When lengthened life unfolded all her plan, 
And on his brow mild age was softly snowing. 

F. B, Sanborn, 
Concord, October 30, 1894. 

I cannot undertake to put Dr. Holmes into a 
paragraph. It seems to me that the qualities 
that made him beloved by his contemporaries, 
that stimulated their thought and quickened 
their love of humanity, — the intellectual sublety, 
the humorous S3anpathy, and the love of his 
kind, — ensure him a long literary life. The 

strong creative impulse does not commonly 
survive threescore years, but at eighty-five the 
sparkling mind of Dr. Holmes seemed untouched 
by bodily infirmity. It was a ripe fruit that 
parted from the bough in an autumn breeze. 

Charles Dudley Warner* 

Hartford, October 19, 1894. 

The vanishing point of the old New Eng 
land group of authors was the death of Dr. 
Holmes. The productions of this group were 
marked by a certain seriousness of aim — a 
sobriety of purpose that gave a twilight glow of 
Puritan earnestness even to the lighter work of 
its members. This underlying seriousness was 
relieved by the weird imagination of Hawthorne, 
which refused to draw In didactic harness, and it 
was yet more relieved by the delightful vivacity 
and wit of Holmes. The strain of Dutch descent, 
perhaps, made Holmes bubble with a jolly 
humor quite unknown to the Massachusetts 
Brahmins, of whom he was prone to boast. But 
his pen had also that intellectual quality which 
gives staying power fo humor. "The Last 
Leaf" and "The One Hoss Shay" and the 
brilliant sallies of the " Autocrat's Table Talk " 
may outlive many productions that wear an air 
of greater importance. Such fun will always 
seem modern and will prove delightful to suc- 
ceeding generations. Edward Eggleston, 

Joshua's Rock on Lakb Gborge, October 30, 1894. 

The death of Dr. Holmes derives an addi- 
tional significance from the fact that it marks 
the closing of an era in American literature. 
He was the last of the old New England poets. 
There was a richness and force of personality 
in these men which make them delightful to 
contemplate, even apart from their achieve- 
ments. Where did we ever meet such sweet- 
ness of soul, such noble bearing, and exquisite 
urbanity as in Henry Wadsworth Longfellow ? 
Where such serene, transcendental wisdom, and 

Copyright, i894« by Wiluam H. Hilu&. AVLT\i2DX:&xt«tm^ 

1 62 

The Writer. 

canny Yankee sense as in Ralph Waldo Emer- 
son ? Where is the man among the survivors 
who in beauty of person and brightness of in- 
tellect can rival James Russell Lowell ? Where 
did we ever hear such rich flow of racy talk as 
from Oliver Wendell Holmes ? I do not know 
why the last, but not the least, in this brilliant 
constellation impresses me as a great person- 
ality, rather than as a great poet. As a writer of 
verse, he is scarcely entitled to a place among 
the immortals. But as Oliver Wendell Holmes, 
the genial Autocrat, the novelist, the fanciful 
and versatile poet, the wit, the wag, the royal com- 
panion, /. g,, in the totality of what he was, he 
seems to be safe from oblivion for some cen- 
turies to come. " Such were the men that New 
England produced in the nineteenth century," 
the future historian will say, and point to the 
splendid group, of which Oliver Wendell 
Holmes was the last. 

Hjalmar Hjorth Boyesen, 

I have no gift to write obituaries. None 
knew Dr. Holmes but to admire him for his 
rare wit and to love him for his lovable quali- 
ties. I hold with Wordsworth, who says in his 
" Essay on Epitaphs " that we do not willingly 
analyse the characters of those who have de- 
lighted and helped us, the admiration and the 
love they have made us feel ; that these senti- 
ments are abundant proofs of the worth which 
inspires them. ( I quote from memory. ) 

W* H. Furness. 

In animals, bird, beast, insect, bee, grass- 
hopper, and fly, poets see images of man- 
kind. Dr. Holmes found in a fish a symbol of 
the soul. He imported into literature the 
chambered nautilus from its navigation of far- 
off seas. With his scientific imagination he 
naturalized a foreign species for shores it never 
sailed to alive, and immortalized a frail creature 
in the amber of imperishable thought. It was 
fancied that men learned to build vessels from 
the nautilus, which means both a sailor and a 
ship. There is a spiritual lesson and motive 
trom inspired verse. C. A, BartoL 

From the day when I read the first page of 

Dr. Holmes' work until now, he has seemed to 

me to oarry to every mind and mood a sense of 

his benevolent presence like nothing else so 

much as the call of a kind physician to the bed- 
side of a child. In the constellation of Ameri- 
can literary masters his light is the kindliest of 
all. It shone and must shine on through the 
generations as it shone from the first, with the 
soft, unvarying glow of a perfect human a£Eec- 
tion. We might reasonably fangy him begin- 
ning the utterances of a life beyond this in 
those words which, with such sweet and pla3rful 
pretense of austerity so many years ago, he 
began the " Autocrat "— " I was just going to 
say, when I was interrupted.". G, IV. Cable, 

Northampton, i8th October, i8<m. 

In more than one recent notice of the life 
of Dr. Holmes I have observed that he was 
called "The last of our great poets." When 
over-zealous admirers applied the term "great" 
to the poet Bryant, the author of " The Fable 
for Critics " dryly observed : — 

" My friends, you endanger the life of your client 
By trying to stretch him up into a giant." 

" Great poets " are few and far between in a 
century. America has had but one ( Lowell ) in 
this of ours ; England, not many. To make 
this claim for Holmes is to invite comparison 
and criticism with somewhat damaging results. 
A delightful author in verse or prose one may 
freely and gratefully acknowledge him to be, 
but hardly more, so far as his work in general 
is concerned. But in the series of poems called 
"Wind-clouds and Star-drifts " he comes more 
nearly to deserve the descriptive adjective 
"great" than elsewhere; but, alas! these are 
not the poems of his which his admirers are 
enthusiastic about. These they never read. 
Perhaps they will one day be read more than 
now, and certainly such a hymn as "O Love 
Divine," such an exquisite poem as "The 
Silent Melody," such others as "The Voice- 
less," "The Chambered Nautilus," "Home- 
sick in Heaven," and " My Aviary," these we 
may hope will long endure, and for them we can 
but be sincerely thankful, whether their kindly 
author be called " great " or not. 

Oscar Fay Adams, 

Cambridge, October 19, 1894. 

It is a remarkable characteristic of Dr. 
Holmes that he reveals himself so fully in his 
writings. In his poems, and especially in his 
"Autocrat," he reveals most thoroughly his 

The Writer. 


kaleidoscopic mind. The grave and the gay, 
the sober and the humorous, the scientific and 
the intensely human sides of his nature stand 
out so broadly that one needs no biography of 
him, except to fill in the comparatively unim- 
portant matters of places and dates. He shows 
himself a man of wide reading, of an iron 
memory, of keen discrimination, of microscopic 
observation, of a sweet and genial spirit, of gra- 
cious sympathy and roystering joy. As it was 
said of Sir Christopher Wren, the architect of 
St. Paul's Cathedral in London, " If you seek 
his monument, look around you"; so, if it is 
asked, " What kind of a man was Dr. Holmes, — 
what was the character of his mind?" — the an- 
swer is, " Read his works and you will know." 

S. F. Smith, 

His work was the sunlight of American 
literature. Frank Z. Stanton, 

Until he reached the age of forty-eight 
Oliver Wendell Holmes was known in litera- 
ture only as a clever versifier, a writer of witty 
occasional poems and metrical essays. At that 
period he surprised the world of letters with 
his "Autocrat of the Breakfast Table," the 
appearance of which was an event of distinct 
importance in our literary history. From that 
time to the end of his life. Dr. Holmes, — wit, 
poet, and social philosopher, — was a notable and 
greatly beloved figure in the mental vision of 
the English-speaking race. As a writer his 
position was unique; he apparently followed 
no model; and he leaves neither successors 
nor imitators. Noah Brooks, 

Castinb, Me., Oct. 20, 1894. 

He was to me the prince of our humorists, 
the gentlest of our satirists, the gladdest of our 
singers. It is only the clay that has returned 
to its own. He lives with us and our children 
and children's children so long as time shall 
last. Charles King ( Capt, U, S, Army), 

Oliver Wendell Holmes illustrated, perhaps 
better than any of that remarkable circle of 
poets of whom he was the surviving member, 
the brightness and beauty of life in itself. To 
him there were no gloomy thoughts, no darken- 
ing shadows of coming or past woe. Sin and 
misery appealed most strongly to him, but he 
invariably saw Hope ; and Despair, tliat stalks 

through life making a tragedy of the common 
event to break the universal heart, had no 
claim upon his pen. He put the grim monster 
gently aside with an imperative farewell, and 
then went on to sing a dying hope to life, in the 
common heart of man. 

O, gentle Autocrat ! As one grows older in 
this sad world, one comes to see more and more 
thy wise teaching. And to say at last. He who 
leads us to the sunshine, and makes us to dwell 
in it, is a common benefactor. 

Margaret Sidney, 

O. w. H. 

( August 29, 1809. ) 

" How shall I crown tUs child ? " fair Summer cried. 
" May wasted all her violets long ago ; 

No longer on the hills June's roses glow, 
FlusMng with tender bloom the pastures wide. 
My stately lilies one by one have died : 

The clematis b but a ghost— and lo I 

In the fair meadow-lands no daisies blow ; 
How shall I crown this Summer child ? *' she s^hed. 
Then quickly smiled. " For him, for him/' she said, 
" On every hill my golden-rod shall flame. 
Token of all my prescient soul foretells. 
His shall be golden song and golden fame — 
Long golden years with love and honor wed— 
And crowns, at last, of silver immortelles ! " 

Julia C, R. Dorr, 

Oliver Wendell Holmes loved all the world, 
and all the world loved him. I am sure that I 
voice the sentiment of the South in saying that 
he appealed to its people with a personality 
more vivid than any other writer of New Eng- 
land. As a prose writer he possessed, like 
Charles Lamb, the greatest of literary charms, 
the charm of personal revealment. Who but 
Lamb could have written the "Essays of 
Elia"? Who but Dr. Holmes "The Auto- 
crat" ? I cannot think of one and not recall the 
other. As a poet the dead singer is even more 
lovable. " The Last Leaf " has fluttered to the 
heart of the world, and the wind of forgetful- 
ness shall blow in vain. 

Samuel Afinturn Peck, 


I love to recall my last two glimpses of Dr. 
Holmes — one as he read, in a tone that sug- 
gested apology and appreciation, certain of his 
best-known poems ; the other as he sat laugh- 
ing and applauding the bubbling good humor 
of Rosina Yokes. I esijeclal^ Vt^'^a?Qs:t^ -^Xscns^. 



semi-spontaneous production of his '* Old Iron- 
sides" poem, in what he called his "fiery 
young days/' and I remember, as characteristic 
of the man, the annual check sent by him in 
support of a certain well-intentioned, but 
scantily-supported, medical periodical — not be- 
cause he had any use for the publication, but 
because he wanted to be " counted in " to help 
keep a good thing afloat, so he would write. 
Oliver Wendell Holmes may not have been 
great, in the sense of genius, nor immortal, as 
the world writes its narrowing record of fame ; 
but the people will never let die his half-dozen 
masterpieces sung in mingling humor and 
pathos, nor forget the kindly autocratic ukases 
of America's laughing philosopher. 

Elbridge S. Brooks. 

The paragraph would be a long one which 

would take in all that could truly and heartily be 

said — of the wit, the humor, the geniality, the 

rhetorical art ( which seemed no art ), the large 

knowledge, and the sweet humanities that 

belonged to Dr. Holmes. 

Donald G. MitchelL 

Edgbwood, Oct., 1894. 

Holmes wa§ the last of our great nineteenth 
century writers. He had the happiness, denied 
to many a writer, of being appreciated in his 
lifetime. His fame will not be lessened as time 
goes on and the historical perspective enables 
us to compare the great with the small and see 
how very great were some whom we knew and 
thought we fully understood. 

yas* yeffrey Roche. 

Dr. Oliver Wendell Holmes is sure of a four- 
fold immortality : — 

As a physician, by his essay on the Contag- 
iousness of Puerperal Fever, published in 1843, 
in the New England Journal of Medicine and 
Surgery; whereby, like most reformers, he was 
exposed for a time to a storm of obloquy and 
abuse, though he lived to see the theory 
triumphantly vindicated . 

As a poet, by " The Chambered Nautilus," 
which stands on the same plane as Words- 
worth's great Ode. 

As a humorist, by " The Last Leaf." 

As a wit, by "The Deacon's One Hoss 
Shay." The wit of one generation is not the 
wit of another, and, undoubtedly, much of Dr. 

Holmes' vers d^occasion will not be understood 
a hundred years from now. But whatever may 
perish, these things are sure to live. 

Those of us who knew the genial Autocrat 
still see him large : as a friend, as a man, as a 
poet, as a humorist, as a wit. He seemed one of 
the men who might live for ever. Hence the 
shock of his loss. Nathan Haskell Dole. 

Dr. Holmes is sure of a permanent place in 
American literature as a novelist and essayist, 
the " Autocrat " and " Elsie Venner " being his 
greatest achievements. He is far and away 
the first of American wits ; he has expressed 
Boston so consummately that his fame will endure 
as long as the State House stands on Beacon 
Hill (how ever changed); he will rank with Sir 
Thomas Browne and the two or three other 
doctors of medicine who have been also great 
physicians of the mind; and some twenty of 
his poems are too good to die from the memory 
of men while they continue to feel the beauty, 
the joy, and the sacredness of life. 

Nicholas P. Gilman. 

Editor of the LiUrttry Worid^ Boston. 

I cannot find it in my heart to refuse your 
request to write a paragraph for the Holmes 
Memorial Number of your magazine, and yet 
it is almost impossible for me to express, in 
brief compass, my estimate of such a man as 
Oliver Wendell Holmes. Literally it may be 
said of him : — 

" The light he leaves behind him lies 
Upon the paths of men." 

It would require greater condensation than I 
possess to gauge his power aright, or to weigh 
with critical precision the loss our literature 
has sustained. Too often we use the word 
genius without regard to its full meaning, but 
it seems to me an eminently appropriate word 
to apply to Dr. Holmes. The opulence and 
variety of his gifts were amazing, and he used 
them to the best advantage. He had greater 
versatility than any of his contemporaries, and 
in this respect he towered above them. He 
was a poet, essayist, novelist, scientist, and wit ; 
and, in these different branches, his success 
was merely a question of degree. For more 
than threescore years he assiduously cultivated 
** his broad mental acres, and reaped from them 
an abundant and beautiful harvest." As an 

The Writer. 


essayist and writer of humorous verse he has 
received, perhaps, his due meed of praise ; but 
it seems to me that he has never been fully ap- 
preciated as a serious poet. Such pieces as 
«The Chambered Nautilus," "Old Ironsides," 
and " Dorothy Q." have had their share of 
recognition, but such a poem as "The Silent 
Melody " is seldom mentioned, even in literary 
circles. And yet, in my judgment, the pathos 
and melody of that lyric are imperishable. It 
is to be hoped that future critics will value 
aright the strength and sweetness of the poet 
who sang until the " curfew " bade him " cover 
up the fire." 

My admiration of Dr. Holmes* character and 
my reverence for his genius are fitly expressed 
by these words of Hamlet: — 

** Take him all in all, we shall not look upon his like again." 

William H. Hayne, 

SUMMBRVU.LB, NBAR AuGUSTA, Oa., October 30, 1894. 

It is difficult to speak briefly of Dr. Oliver 
Wendell Holmes without omitting much one 
would like to say. He was not our greatest 
writer in the Boston group of authors, but he 
was versatile beyond any one of them. All of 
his faculties — and they were many — were 
awake constantly. He was not a Homer, for 
the proverb says that even Homer would some- 
times nod, while the fact with Dr. Holmes was 
that he never did. But he was more than an 
author, poet, and wit ; he had a unique person- 
ality. He was a Brahmin by birth and instinct, 
and yet he was. not the prisoner of his environ- 
ment. He might and did prefer Boston to any 
part of the universe, as its centre or " hub," but 
he could maintain very easy and genial relations 
with other people than Bostonians. 

One of his most notable books — "Mechan- 
ism in Morals " — I am sure not one in fifty of 
his admirers has ever read. It is a small, thin 
volume, full of the weightiest and wittiest dis- 
course. I cannot think of any other American 
author who could have written it. 

His ♦• Autocrat of the Breakfast Table " ex- 
presses him at bis best and roundest, but he has 
left hia fluent and lambent touch on all that he 
wrote. His poetry is poured into forms that 
Pope and his contemporaries used, but these 
forms fitted best his genius. Much of his occa- 
sional verse, of which there was a large quan- 

tity, was written to be delivered ; and Holmes 
lets us into his secret so far as to say that the 
human breath in elocution fits itself better to 
the octosyllabic verse and to forms related 
thereto than to any other. Though he wrote 
lyrics, to be sure, his muse was not l3rrical in 

One thing about his poems is that they gave 
us always the latest news and often the latest 
science. These things, too, colored his prose. 
He made conversation in literature, tending to 
monologue, an immense instrument and a per- 
ennial delight. His thought was broad and lib- 
erating. His spirit, jocund often, was like 
Ariel's. Some of his mots require culture to 
understand, as when he said of Bishop Berkeley 
that " he thought tar water everything and the 
universe nothing." But the point, and glow, 
and felicity were never absent from them. His 
was a most wholesome personal and literary 
influence — one that was felt, too, across the 
sea. It will be a long time before we have an- 
other such Admirable Crichton to charm and 
honor us, and whose loss could be so much 
lamented. yoel Benton, 

After the death of one whom we love, we can 
only try to convey our sense of loss by express- 
ing our sense of obligation. But what one 
owes to an author whom one has loved from 
childhood contains so much of personal record, 
that it seems to be matter rather for private 
confession and meditation than public ack- 
nowledgment. And thus I feel that my in- 
ability to express what I would about Dr. 
Holmes is in itself the most adequate expres- 
sion of my gratitude and affection to him. 

Grace King, 

Mandbvillb, La., October 33, 1894. 

In no writer of our time, if we except Bulwer, 
can we discern so great a change — as years 
passed on — as in Dr. Holmes. As a poet — at 
firsts-only a delicate fancy marked his work, or 
an equally delicate wit. Later — he touched 
deeper chords with reverent sentiment and an 
extraordinary happiness of epithet. It was as 
"The Autocrat of the Breakfast Table " that he 
first won popular sympathy. The title was 
fortunately chosen — for " Autocrat " he was by 
nature. But with the use of the word a certain 
consciousness came to him, and from that hour 
his sympathies broadened— he took^a&svt^xsji^x- 


THE Writer. 

est in others, and less in himself and his fancies. 
Above all things, he desired to keep " The Last 
Leaf " green. In March, 1892, I had occasion 
to make some inquiries of him, and desired 
that he would not trouble himself to reply, but 
employ any young person near. He wrote me 
so full a holograph that I could not resist 
saying : " It is evident you are the youngest 
person to be found." Caroline H, DalL 

Washington, Oct. 19, 1894. 

If I were a critic, and armed in all the ag- 
gressive grandeurs of one, I should feel my 
love for Dr. Holmes' best writing destroy 
every impulse to sit in judgment upon his 
second best. He was not, to my thinking, the 
mere "laughing philosopher" that so many 
recent commentators have called him. He was 
a deep and keen thinker, and in every way sympa- 
thized with modern rationalistic movements. 
The full measure of his intellectual! sm was by no 
means expressed in his poetry; and yet his 
finer lyrics have a lark-like quality almost 
unique. Others are far below these, though 
some of his " occasional " poems are the best 
that any one in any known time has ever written. 
Nothing that he did in verse will entitle him to 
be called great ; not a little that he did in prose 
will entitle him to be called masterly. As a 
personality, a life, he seems to me the sane and 
wholesome and joyous perfection of contempo- 
rary human aim and achievement. As a man of 
letters he takes rank among the highest. As a 
wit, a humorist, whom can we place above him ? 
I value beyond words the memory of talks held 
with him, and the gift of precious letters re- 
ceived from his gracious and graceful pen. 

Edgar FawcetL 

Dr. Holmes, as an essayist, will remain a 
permanent worthy of American literature. He 
was a natural Autocrat, in whom wit and wisdom 
were happily blended. As a poet, his work, 
while it possesses grace, humor, and charm, has 
not the highest imaginative quality. "The 
Chambered Nautilus" and "The One Hoss 
Shay " are his finest things in the lyric and 
homely-humorous veins respectively. But 
Holmes' serious verse, especially in its form, is 
of secondary importance, and was, in a sense, old- 
fashioned and restricted to the last. His work 
|n fiction must not be overlooked in any just 

estimate. "Elsie Venner" was a remarkable 
novel when it appeared over thirty years ago : 
it is still a noteworthy performance, in spite of 
the great advance since in the technique of fic- 
tion in the United States. Critical judgments 
on Dr. Holmes are peculiarly difficult, because 
of the social magnetism of the man, his unique 
place in the hearts of his contemporaries. 

Richard Burton, 

Oliver Wendell Holmes was exceptionally 
fortunate in his life and in his death. As a 
literary artist, he was so singularly versatile that 
he has gained less fame, famous as he is, in any 
one branch of letters than he would have gained 
had his range been limited. As an author, 
speaking in the widest sense, he was spared, 
through his independent means, the trials and 
the hardships that so commonly beset his guild.. 
Had he been compelled to live by his pen, he 
would probably have died before fifty, for he 
was the reverse of robust. Dr Holmes' cheer- 
ful, almost optimistic, spirit served him in place 
of vigorous health, and sustained his intellect 
and buoyancy to the very end. Although 
spoken of by British critics, with characteristic 
self-complacency, as having modelled himself on 
British writers, he was wholly American, and 
himself. Unquestionably a man of genius, he 
was at his highest as a humorist and social 
philosopher. His best work, I think, is the 
" Autocrat," as delightful as it is brilliant and 
original. But all his writings are a precious 
legacy to his Country and his epoch. 

Junius Henri Browne. 

Nbw York, October 19th, 1894. 

The death of Dr. Holmes is striking and 
significant, not only from the heaviness of the 
loss in the man, but from the fact that with 
him ends the . most brilliant period which 
American letters has known. We cannot 
forget that he was the last survivor of the 
group of writers which first gave to this country 
a national and individual literature worthy the 
name. The men who remain are different in 
temper and different in aim. Emerson, Motley,. 
Whittier, Longfellow, Hawthorne, and Holmes,, 
as compared with Aldrich, Howells, James, and 
still more, as compared with younger men, were 
lacking in cosmopolitanism. There is always 
evident in their work a disregard of any world 

The Writer. 


outside of New England; and he who reads 
between the lines sees easily that for them the 
Saturday Club comes near to being the court 
of ultimate appeal. The thing which makes 
their writings of lasting value and raises their 
work to the dignity of literature is that they 
had fine reverence for literary tradition, and, 
above all, that they believed in imagination 
rather than in elaboration, holding that obser- 
vation should be its servant and not its master. 
With the extinction of this group ends the 
continuity of literary tradition in America, and 
however good and great the new may be, to see 
the old vanish must bring to every lover of 
literature a deep sense of melancholy. 

Arlo Bates, 

He occupied a unique and distinctive place 

in American literature. 

Ella Wheeler Wilcox. 

Hartford, October xg, 1894. 

I paid my first tribute to Oliver Wendell 
Holmes by listening to our hired man (out in 
the cornfield ) recite " How the Old Hoss Won 
the Bet." I sat on a pumpkin while the hired 
man rolled o£E those sounding lines, wherein 
the hoof-strokes throbbed and the sulky wheels 
flashed in the sun. That was poetry compre- 
hensible to a boy of sixteen whose life was 
spent largely on horseback. A year or two 
later I made my schoolmates feel it in the 
chapel at " Friday exercises." It does not mean 
as much to me now, but "The Autocrat" means 
more. The essayist rises higher than the poet 
— witty, tender; wise in human frailty, but 
never bitter. Hamlin Garland, 

Chicago, October 19. 

New England has had no more genuine rep- 
resentative than Dr. Holmes on the intellectual 
side; he had its strength, and he had also its 
limitations. His quickness, keenness, pungency, 
lucidity, and wit were the characteristic quali- 
ties of his ancestry and his section brought to 
the highest point of development and touched 
with genius. His mind had a marvellous agility, 
accuracy, and versatility ; it turned, like a gem, 
many ways, and light flashed from every facet 
which it presented. He was investigator, physi- 
cian, novelist, poet, philosopher, critic, lec- 
turer; and whatever he did was done with 

brilliancy, insight, and finish. He did not, like 
Lowell, voice the intense moral earnestness of 
New England; nor did he, like Whittier and 
Emerson, compass its highest reaches of spirit- 
ual elevation; but its moral health, its keen, 
swift movement of mind, and its untiring curi- 
osity and energy were his in high degree. He 
was much more a man of the world than Emer- 
son, Longfellow, Hawthorne, or Whittier, but it 
was the best world for which he cared — the 
world of thought, of wit, of contact with the best 
in life and art, of the highest breeding and the 

keenest sense of honor. 

Hamilton W. Mabie, 

It is impossible to sum up in only a few 
words impressions of a many-sided man like 
Oliver Wendell Holmes. I shall, therefore, 
touch upon only one phase of his extraordinary 
personality, and this I will illustrate with an 
anecdote. One afternoon, some years ago, I 
chanced to call upon Mr. Longfellow just after 
he had received a visit from the doctor. " What 
a delightful man he is ! " said he. " But he has 
left me, as he generally does, with a headache." 
When I inquired how that came about, he re- 
plied, " The movement of his mind is so much 
more rapid than mine that I often find it diffi- 
cult to follow him, and if I keep up the strain 
for any length of time, a headache is the usual 

I met the Autocrat on many and various 
occasions, and was always impressed — though 
never oppressed — by the trait ascribed to him 
by Longfellow — the phenomenal rapidity of 
his mental processes. Not that he talked fast, 
but that his turns of thought were surprisingly 
bright and quick, and often made with a kind of 
scientific precision, charmingly in contrast with 
the looseness of statement which commonly 
characterizes the conversation of those who 
speak volubly and think fast. I never saw him 
when his genius did not seem to be thus alive 
and alert. In view of this habitual vivacity, 
how we must marvel at his length of life, meas- 
ured not by years, but by the amount of thought 
and feeling and spiritual energy that animated 
— I had almost said electrified — him through- 
out his long and brilliant career. 

J, T, Trowbridge. 

Arlington, October 30, 1894. 



The Writer. 

Psblkhed monthly by The Writer Publishing Company, aSa 
Washington street, Rooms g and lo, Boston, Mass. 


• • 


%*ThbWritbr is published the first day of every month. 
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383 Washington street ( Rooms 9 and 10 ), 

p. O. Box 1905. Boston, Mass. 

Vol. VII. November, 1894. No. 11. 

No one among the younger readers of " The 
Autocrat of the Breakfast Table " to-day can 
help envying those who were fortunate enough, 
nearly forty years ago, to have the opportunity 
of reading those delightful papers as they ap- 
peared month after month in the Atlantic^ 
when all the contemporaneous allusions con- 
tained in them were fresh and so easily under- 
stood at sight by every reader. So those who 
may come after us will envy us the privilege 
of having lived when Longfellow, and Lowell, 
and Whittier, and Holmes were still actual 
personalities, and of knowing them from them- 
selves as well as from their books. That Dr. 
Holmes' genius was fully appreciated by his 
contemporaries is attested by the interesting 
estimates of him contributed by leading Ameri- 

can authors to this number of The Writer. 
That his reputation will be a lasting one all who 
are familiar with his many-sided works will 
readily agree. His eminence in American lit- 
erature is shown most clearly by the general 
acknowledgment that, now that he is gone, 
there is no one among living writers in this 
country who can take his place. 

In the October number of The Writer a 
news note said that the pamphlet, " An Intra- 
mural View of the Ladies* Home Journal^^'* de- 
scribed "the Home yournaPs building." The 
publishers of the Home yournal^ New York, 
say in a letter since received : — 

We clip this paragraph from the latest number of Thb 
Writbr and desire to call your attention to the error of fact. 
The publication referred to describes not the Homg JimmiU 
building, but the building of the Ladits* Home Journal. The 
title of a newspaper is not the smallest part of its stock in trade. 
Your interesting journal is not given to making errors, and we 
beg that you will excuse us for directing your kind attention to 
this mistake. 

Very truly yours, 

Morris Philxips & Co. 


There is usually something to be said on 
both sides of every question, but Lucy C. Bull 
does not present a very strong argument in her 
article in the North A merican Review discus- 
sing the use of foreign phrases in English writ- 
ing. ** It is difficult," she says, " to see reason 
in the objections urged by many against the use 
of foreign phrases whenever it is possible to 
avoid them. The day of American indifference 
to things transatlantic is indeed gone by ; nor 
is it probable that the extreme position of Mr. 
Bryant in excluding foreign phrases from the 
daily paper of which he was editor will ever 
again be taken by a man of his breadth of 
mind. The current is setting in another direc- 
tion and a due regard for other standards than 
our own in art, in politics, and in the amenities 
of life is replacing the disposition to ignore 
them. Yet that contempt for things foreign 
which reached its height some fifty years ago 
was too deep-rooted not to survive in certain 
modes of thought, and to this source it may 
not be altogether unreasonable to refer the 
dislike of foreign phrases. No doubt the abuse 
of classical quotations and French phrases by 
ornate writers has prejudiced many against 

The Writer. 


even a moderate use of things good in them- 
selves. Yet it is hard to see why a happy 
medium may not be struck between use and 

• ** 

There may be a few foreign words and 
phrases which do not have an exact equivalent 
in English, and the use of which in English 
writing is for that reason sometimes excusable, 
but such phrases are very, very few — so rare, 
indeed, that they a£Eord only the exception in- 
evitable in the case of every general rule. The 
best way is to avoid the use of anything but 
English words wherever it is possible, leaving 
the few cases where the use of a foreign phrase 
is essential to take care of themselves. If a 
writer starts with this idea, he will be astonished 
to see how few foreign words are necessities in 
his vocabulary. He will find, for example, that 
that favorite phrase " nom de plume," so often 
wrongly used for " nom de guerre," is no more 
expressive than " pen name " or " pseudonym," 
and so it is with most of the other foreign 
phrases that authors have a tendency to use. 
A writer should remember that even in these 
days of general education very many of his 
readers do not know any language other than 
English, and that if he wants to be fully under- 
stood by every reader he must govern himself 
accordingly. In ninety-nine cases out of a hun- 
dred the use of foreign phrases is an affectation,* 
and, like all other affectations, should be avoided 
by those who want to write in the most effec- 
tive way. w. H. H. 



To the Editor of The Writer : 

My Dear Sir, — Your readers will be inter- 
ested in the following note from Dr. Holmes, in 
which he describes **The Great Unwritten 
Article " : — 

164 Charles Street, December 7, 1869. 

My Dear Mr. Hale, — I shall keep your note as a reminder 
that I hope sometime or other to take up the p>en which I have 
not cared to meddle with often of late. In the'mean time, you 
may be assured that nothing that one commits to paper is ever 
half so good as his great Unwritten Articlb. 

Like an Easter egg, that unhatched production ~ its unbroken 
shell, I mean —is stained — by the reader-that-is-to>be's imagi- 
tation I mean — with every brilliant hue of promise. Break it 
and you have the usual albuminous contents ; keep it whole 
and you can feast your eyes on its gorgeous color, and yoor 

mind with the thought that it carries the possibility of a 

Say, then, that you have the/^^mM^ of an article from one of 
the most etceterable and etceteraed of our native writers, and 
it will be like a signed check with the amount left blank. 

Prophets and priests may desire it long and die without the 
sight, but will die saying, " When the great Unwritten Arti- 
cuc do«i come, then you will see ! " and so turn their faces to 
the wall. 

Let us leave it unwritten, then, for the present, and think 
how much more precious is an infinite series of undefined ex- 
pectations than any paltry performance or transient fruition. 

In the mean time, believt me always very sincerely and faith- 
fully yours, O. W. Holmes. 

I am truly yours, 

Edward Everett Hale, 


[ Questions relating to literary work or literary topics will be 
answered in this department. Questions must be brief, and 
of general interest. Questions on general topics should be 
directed elsewhere.] 

( I . ) What newspapers pay for letters from 
foreign countries? 

( 2. ) What is requisite to make translations 
of German poems or short stories acceptable ? 

( 3. ) What is the best way to get articles into 
a newspaper 1 e. e. 

[ ( I. ) There is practically no sale for letters 
from foreign countries. Such matter is usu- 
ally gratuitous, and it is hard to place even 
when no payment is expected. 

( 2. ) Translations, like letters of travel, are 
hard to sell. In the case of short stories, they 
must be new. In the case of poems, it does 
not matter so much whether they have been 
previously translated or not. Success with 
translated poems depends principally on the 
merit of the translation. 

(3.) The best way to approach a newspaper 
editor is to send him a manuscript and o£Eer it 
for sale. — w. h. h. ] 


For many years, in almost every issue of 
The Writer, I have noticed authors' com- 
plaints of long delays of some publishers in 
reading manuscripts. In my own experience I 
recall one magazine editor who waited nearly 
thirteen months before writing, "The story, 

, is accepted." As a matter of news, 

pleasing to authors, I imagine it would be of 
interest to know that the editor of one New 
York magazine (the American Angler) has 
certainly broken the recot^L \\sl ^x^\ss^^asM*^^'*^ 



least, A story sent to him recently brought the 
following reply: "Your note, with manuscript, 
received ten ( lo ) minutes ago. I will have the 
photos reproduced, and the article printed in 
our November issue." j. e. g. 

Toledo, O. 

Speaking of " Inconsistencies of Illustration," 
— a subject discussed at some length in recent 
issues of The Writer, — two recent examples 
may be noted. In the October Century ( p. 882 ) 
Mrs. Burton Harrison describes a young lady 
as "attired in a white morning frock and a 
sash of white satin belted around the waist." 
On p. 889 Irving R. Wiles' illustration makes 
the sash dark enough to be black. Somewhere 
else I have recently seen a picture illustrating 
the interior of a room. The author describes 
" a small four-paned window — the only one in 
the room," and the illustrator has not only put 
in a twelve-pane sash, but has made the man 
sitting there, who was described as very short, 
so tall that even when seated his head was 
almost on a level with the top of the second 
pane. h. e. r. 

San FRANasco, Calif. 


Back Country Pobms. By Sam Walter Foss. Illustrated. 
258 pp. Cloth, $1.50. Boston: Lee & Shepard. 1894. 

This new edition of the collected poems of 
Sam Walter Foss will be welcomed by count- 
less readers. Mr. Foss is a genuine Yankee 
poet, and his work is distinguished by the 
sound sense and shrewd humor characteristic 
of the native New Englander. His poems 
have had a wide circulation in the newspapers, 
and scores of them are scrap-book favorites. 
They picture the back-country life of New 
England as it really is, and in such a way that 
those who are most familiar with it can get the 
keenest pleasure from them. It is a pleasure 
to see them published in this attractive new 
illustrated edition. w. h. h. 

Armazindy. By James Whitcomb Rile^. 169 pp. Cloth, 
^1.25. Indianapolis: The Bowen-Memll Company. 1894. 

Now that Dr. Holmes is gone, there are 
critics who are almost ready to accord to James 
Whitcomb Riley the first place among living 
American poets. Those who regard him sim- 
ply as a dialect writer do not do justice to the 
variety and the originality of his work. Many 
of his best poems are not in dialect, and some 
of the dialect poems that have won the widest 
fame would be hardly less attractive if they 

were recast in ordinary speech. This new vol- 
ume includes all of Mr. Riley's latest work, and 
well illustrates the variety of his genius. There 
is one piece of prose, " Twiggs and Tudens." 
The rest is poetry, and it ranges from " Arma- 
zindy," the dialect piece which gives the title to 
the book, to the long poem, " An Idyl of the 
King," and the children's verses that conclude 
the volume. An interesting feature of the book 
is the poem " Leonainie," which Riley wrote 
early in his career in imitation of the style of 
Poe, with such success that even such an excel- 
lent literary authority as E. C. Stedman main- 
tained that Poe unquestionably wrote it. The 
author has never permitted it to be printed in 
his other volumes. w. h. h. 

LovB IN Idlbnrss. a tale of Bar Harbor. By F. Marion 
Crawford. With illustrations produced from drawings and 
photographs. Cloth, $2.00. I^ew York : Macmillan & Co. 

This holiday edition of Mr. Crawford's new 
story of Bar Harbor life forms an attractive 
addition to the well-known Cranford Series. 
The charm of the story, which won general 
favor when it was first published in the Century .^ 
is enhanced now by a wealth of artistic half-tone 
illustrations, made from photographs and draw- 
ings of Bar Harbor scenery. These illustra- 
tions alone would make the book valuable to 
any one who has ever been at Bar Harbor or 
who is interested in any way in Maine's famous 
summer resort. With its tasteful binding, full 
gilt edges, and exquisite typography, the vol- 
ume deserves a leading place among the holi- 
day publications of 1894. w. H. h. 

A History op the United States. By Allen C. Thomas, 
A. M. 410 and Ixxii. pp. Half leather, $1.25. Boston: 
D. C. Heath & Co. 1894. 

The value of this new history of the United 
States consists largely in the detailed attention 
given to late events, much the greater portion 
of the book being devoted to the era beginning 
with 1789. Throughout special attention is 
given to the political, social, and economic 
development of the nation. The book is well 
illustrated, the later portraits being half-tone 
cuts, with all the value of original photographs. 

w. H. H. 

Outlines of Practical Hygiene. By C. Gilman Currier. 
M. D. 468 pp. Cloth, $2.75. New York: £. B. Treat, 

The importance of living under the best hy- 
gienic conditions is manifest to every one. Dr. 
Currier has made a careful study of all modern 
treatises bearing on the subject of practical hy- 
giene adapted to American conditions, and of 
current periodical literature relating to the same 
topic, and has added to the knowledge thus 
gained the results of intelligent observation 
and medical experience. His book, therefore, 
is a summary of information on the subject of 
which it treats, and it cannot fail to be helpful 


The Writer. 


in teaching methods for the prevention of dis- 
ease. The chapter headings are: Soil and 
Climate, Clothing and Protection of the Body, 
Bathing and Personal Hygiene, Physical Exer- 
cise, Schools and Their Influence on Health, 
Occupation, Lighting, Buildings and Streets, 
Heatine, Ventilation, Foods, Food Preparation 
and Adaptation, Diet, Water and Water Sup- 
plies, Disposal of Fluid Waste, Sewers, House 
Drainage, Plumbing, Disposal of the Dead, 
Bacteria and Disease, Infectious Diseases, 
Disinfection. A full index greatly enhances 
the value of the work. w. h. h. 

A Practical Trbatisb on Nbrvous Exhaustion (Nburas* 
thbnia). By George M. Beard. A. M., M. D. Edited, with 
notes and additions, by A. D. Rockwell, A. M., M. D. Third 
edition, enlarged, a6a pp. Qoth, ^3.75. New York: E. B. 
Treat. 1894. • 

Literary workers so frequently become vic- 
tims of neurasthenia, that for them this treatise 
by the late Dr. Beard and Dr. Rockwell has a 
special value, particularly as Dr. Rockwell says 
that it is admitted by all whose experience en- 
titles their opinion to weight that the disease is 
in most instances entirely curable, and in some 
cases self-curable. All that modern medical 
science knows of nervous exhaustion is in- 
cluded in this work, the third edition of which 
has been enlarged and brought up to date in all 
respects. w. h. h. 

Thb Pbarl op India. Maturin M. Ballou. 335 pp. Cloth, 
$1.50. Boston : Houghton, Mifflin, & Co. 1894. 

It is always entertaining to travel with Mr. 
Ballou. His latest volume describes the attrac- 
tions and beauties of Ceylon, "gem of the 
Orient," which is now traversed so generally by 
railways and excellent government roads, Mr. 
Ballou says, that there is very little hardship to 
be encountered in visiting its remotest districts. 
Everything about Ceylon that any one could 
wish to know is included in the book. To 
travellers it will be a helpful guide in journey- 
ing about the island, and those who must ao 
their travelling by the fireside will find it most 
delightful reading. w. h. h. 

Thb Chasb of Saint-Castin, and Othbr Talbs. By 
Mary Hartwell Catherwood. 266 pp. Cloth, $1.25. Bos- 
ton : Houghton, Mifflin, & Co. 1894. 

This collection of short stories by Mrs. Cath- 
erwood possesses more than ordinary interest. 
Amone Western writers Mrs. Catherwood de- 
servedly holds a leading place, and each new 
volume' strengthens her position among the 
more prominent American writers of to-day. 
The stories in the book are full of dramatic in- 
terest, and they are sure to entertain the 
reader. w. h. h. 

A Florida Skbtch-book. By Bradford Torrey. 242 pp. 
Cloth, $1.25. Boston : Houghton* Mifflin, & Co. 1894. 

Mr. Torrey*s sketches of outdoor life are 
always so delightful that a new volume of them 
is certain of a warm welcome by a host of 

readers. The pictures of Florida in this new 
" sketch-book " are true to nature and full of 
suggestive thought. The chapter headings are; 
In the Flat-woods, Beside the Marsh, On the 
Beach at Daytonia, Along the Hillsborough, 
A Morning at the Old Sugar Mill, On the 
Upper St. John's, On the St. Augustine Road, 
Ornithology on a Cotton Plantation, A Florida 
Shrine, and Walks about Tallahassee. 

w. H. H. 

Trilby. By George Du Maurier. 464 pp. Illustrated. 
Cloth, ^1.75. New York: Harper & Bros. 1894. 

The attention of readers of The Writer is 
called to the article entitled "A Criticism of 
* Trilby,' " published in the October number of 
the magazine. In addition to what was said 
there it is necessary to say now only that the 
book has been issued in an illustrated volume 
by Harper & Bros., and that the publishers are 
having hard work to print copies enough to 
supply the public demand. Those who have 
read the story as it appeared serially in Har- 
per's Magazine will be interested to observe 
now ingeniously the part published in the Feb- 
ruary number has been changed, to appease the 
outraged feelings of Mr. Whistler, who was 
caricatured in it by the author. w. H. h. 

LouRDBS. By Emile Zola. 486 pp. Cloth, ^1.25. Chicago: 
F. Tennyson Neely. 1894. 

If for no other reason, general interest in 
M. Zola's latest novel is sure to be excited by 
the fact that it has been put on the index 
expurgatorius of the Roman Catholic church. 
The story attracted much attention as it was 
published recently in several of the newspapers 
of America. Now it is issued complete in a 
single portly volume, well-printed and bound, 
as the introductory volume of Neely *s Inter- 
national Library. In its new form it \t sure 
to have a widespread circulation. w. h. h. 

Thb Jbromb Banners. Comprising The Rest Banner. 
The Joy Banner, The Every-Day Banner, and What Will 
the Violets Be? By Irene £. Jerome. 50 cents each. 
Boston : Lee & Shepard. 1894. 

Among the attractive art novelties of the 
Christmas season these dainty banners are 
sure to take a prominent place. Each leaflet 
or banner consists of four parts, beautifully 
decorated in colors and gold, attached by rib- 
bons of appropriate shades, combined with 
extracts from popular authors, and enclosed Id 
decorated envelopes. Each banner when hune 
is about twenty-one inches long by seven and 
one-half inches wide. Miss Jerome's designs 
are tasteful and artistic, and the banners will 
find favor with all lovers of the beautiful. 

w. H. H. 

Bbcausb I LovB You. Edited by Anna E. Mack. 228 ppi.. 
Cloth, %\ 50. Boston : Lee & Shepard. 1894. 

This dainty volume of love poems contains 
many gems of poetry, and that^ vs* Vc^ct^io^ -^ 


The Writer. 

poem in the book which the general reader will 
not find attractive. More than 130 authors are 
represented, most of them by their best work. 
Miss Mack has shown good taste and fine dis- 
crimination in her labor of selection, and her 
compilation is bound to be a popular one. The 
book is admirably adapted for a Christmas gift. 

Ti» H. H. 

A Hilltop Summbr. By Alyn Yates Keith. Illustrated, 
no pp. Qoth, $1.25. Boston : Lee & Shepard. 1894. 

The sketches in " A Hilltop Summer " were 
originally published in the A^€w York Evening 
Post, and are now put into book form at the 
request of many readers. They depict in a 
•charming way the life of a New England coun- 
try town, witnessed during a pleasant summer 
sojourn. The volume is beautified by many 
illustrations. w. h. H. 

" Sirs, Only Sbvbntbbn." By Virginia F. Townsend. 323 
pp. Cloth, $1.50. Boston: Lee & Shepard. 1894. 

Miss Townsend's books are always entertain- 
ing, and this latest story is no exception to the 
rule. The scene is laid chiefiy in Boston and 
vicinity, and among the chief characters are 
Dorothy Draycutt and her brother Tom, a Har- 
vard student. The plot of the story is well 
planned, and the reader's interest is maintained 
until the end. w. h. h. 

AfoLLiB MiLLBR. By Effie W. Merriman. Illustrated. 385 
pp. Cloth, 1 1.25. Boston: Lee & Shepard. 1894. 

" Mollie Miller " is a sequel to Mrs. Merri- 
man's story, " The Little Millers," and takes 
Mollie, Ned, and Max, and their adopted child, 
Johnnie, through the pleasures and vicissitudes 
of youth. The story is wholesome and inter- 
estmg — the best that Mrs. Merriman has writ- 
ten up to the present time. w. h. h. 

Asiatic Brbbzbs. By Oliver Optic. Illustrated. 361 pp. 
Cloth, $1.35. Boston: Lee & Snepard. 1894. 

"Asiatic Breezes," Oliver Optic's latest 
story, is the fourth and concluding volume 
of the second series of the " AU-Over-the- 
World Library." The book takes its heroes 
though the Mediterranean sea and the Suez 
canal, and incidentally a great deal of informa- 
tion is given about the great canal and the 
different countries that are visited. The 
story is full of exciting incidents, and there 
is no live boy who would not read it with the 
keenest interest. w. h. h. 

^BB Lucy. By Sophie May. Illustrated. 164 pp. Cloth, 
75 cents. Boston : Lee & Shepard. 1894. 

There are grown men and women now who 
-were delighted when they were young with 
Sophie May's stories about "Little Prudy" 
and " Dotty Dimple," and who will be glad to 
Jbuy for their own children this new book by 
the same author about the children of " Little 
Prudy." Sophie May's stories of child life 
need no new commendation. They are whole- 

some and natural, and children always read 
them with delight. w. H. H. 

I Am Wbll! By C. W. Post. Second edition. 147 ppu 
Cloth, $1.25. Boston : Lee & Shepard. 1894. 

" I Am Well " is a treatise on the modem 
practice of natural sufi;gestion as distinct from 
hypnotic or unnatural influence. It explans the 
principles of mental healing, and is an authori- 
tative exponent of the views concerning the true 
nature of health and disease advocated by the 
author. The I act that this is the second edi- 
tion of the work is evidence that it has been 
found useful by many readers. w. H. H. 


[AH books sent to the editor of Tkb WKmn will beafr 
knowledged under this heading. They will reoeiTe toch fortlMr 
notice as may be warranted by their importance to reader* of 

the magazine.] 

/ — — ^— 

Duck Crbbk Ballads. By John Henton Carter ( Comno- 
dore Rollingpin). 204 pp. Qoth. New York: H. C 
Nixon. 1894. 

Whitbr Than Snow. By the author of " Juror No. «/ 
227 pp. Paper, 25 cents. New York : J. S. OgilTie Pub- 
lisning Company. 1894. 

Thb Man from thb Wbst. By a Wall-street Man. 146 pp. 
Paper, 50 cents. New York : J. S. OgUvie Publishing Com- 
pany. 1894. 

Thb Birth of a Soul. By Mrs. A. Phillipa. 336 pp. 
Paper, 50 cents. Chicago : Rand, McNally, & Co. 1894. 

Essays on Qubstions of thb Day. By Goldwin Smith. 
384 pp. Cloth, 1 1.2 s. New York: Macmillan & Co. 1894. 

A Patch of Pansibs. By J. Edmund V. Cooke. 89 pp. 
Cloth, $1.00. New York : G. P. Putnam*s Sons. 1894. 

Thb Flutb-playbr, and othbr Pobms. By Frauds Howard 
Williams. 128 pp. Qoth, $x. 00. New York: G.P.Put- 
nam's Sons. 1894. 


[The publisher of Thb Writbr will send to any addre« a 
copy of any magazine mentioned in the following reference Hit 
on receipt of the amount given in parenthesis following the lUUM 
— the amount being in each case the price of the periodical 
wiih three cents postage added. Unless a price is given, the 
periodical must be ordered from the publication office. Reaiden 
who send to the publishers of the periodicak indexed for ooplee 
containing the articles mentioned in the list will confer a favor 
if they will mention Thb Writbr when they writa.] 

Thb Hawthornbs in Lbnox. Told in letters by Nathaidd 
Hawthorne, Sophia Hawthorne, Herman MelTille, and otheia. 
Edited by Rose Hawthorne Lathrop. CenHtrf ( 38 c ) for 

My First Book. Rudyard Kipling. McClur€*s 
( 18 c. ) for November. 

A. Conan Dovlb Intbrvibwbd by Robbrt Bakk. 
Clure^s Magasine ( 18 c. ) for November. 

Dr. a. Conan Doylb and His Work. Gilaon WiUttt. 
Current Literature (28 c. ) for November. 

OuvRR Wbndbll Holmbs. John W. Chadwidu F^ 
( 28 c. ) for November. 

The Writer. 


Fbkgus Mackbnzib, Mrs. Lydia Hoyt Farmbr, Kath- 


CurreMi LiUraiurs ( 38 c. ) for November. 

Thackbray's Placb in Litbraturb. Frederic Harrison. 
Fornm ( 38 c. ) for November. 

Thb Nbwspapbr Prbss op thb Unitbo Statbs. Franklin 
Matthews. Ckautan^uan (38 c. ) for November. 

Gbnbral O. O. Howard. Vl^th portrait. Herbert John- 
ston. CkoMtauquan ( 28 c. ) for November. 

Thb Rbligion op Embrson. W. H. Savage. Arena ( 53 c. ) 
for November. 

Elbction Night in a Nbwspapbr Ofpicb. Julian Ralph. 
ScrUmer's (a8 c. ) for November. 

Thb Modbrn Novbl. Amelia E. Barr. North American 
Review ( 53 c. ) for November. 

Boswbll's Proof-shbbts. George Birkbeck Hill. Atlantic 
Hanihly ( 38 c. ) for November. 

Thb Academic Trbatmbnt of English. H. E. Scudder. 
Atlantic Monthly {1% c. ) for November. 

Nbwspapbr Choices. Charles Dudley Warner. Editor's 
Study, Harper's ( 38 c. ) for November. 

Glimpses of Artist-ufb. The Punch Dinner. M. H. 
Spielmann. Magazine of Art ( 38 c. ) for November. 

My Literary Passions. William Dean Howells. Ladies* 
Home Journal (13 c.) for November. 

Magazine Fiction, and How Not to Write It. Fred- 
eric M. Bird. Lippincotfs (28 c. ) for November. 

The Washington Correspondent. E. J. Gibson. Lip- 
pincotfs ( 28 c. ) for November. 

William Cullen Bryant. Brander Matthews. St. Nich' 
olas ( 28 c. ) for November. 

Bryant's Centennial. William R. Thayer. Reviews of 
Reviews ( 28 c ) for October. 

PoE IN Nbw York. Letters edited by George E. Woodberry . 
Century ( 38 c. ) for October. 

Folk-speech in America. Edward Eggleston. Century 
( 38 c. ) for October. 

Edmund Clarence Stedman. With frontispiece portrait. 
Royal Contissoy. Century ( 38 c. ) for October. 

Rbcollbctions. Aubrey De Vere. Century ( 38 c. ) for 

Aubrey De Verb. With portrait. George E. Woodberry . 
Century ( 38 c. ) for October. 

Commercial Bookbinding. Brander Matthews. Century 
( 38 c. ) for October. 

The Half-tone Process. William Shaw. American 
Journal 0/ Photography ( 28 c. ) for October. 

A Playwright's Novitiate. Miriam Coles Harris. At" 
latttic Monthly ( 38 c. ) for October. 

Jack's Literary Effort. Story. Tudor Jenks. St. Nich- 
olas ( s8 c. ) for October. 

The Prejudice Against Foreign Phrases. Lucy C. 
Bull. North A merican Review ( 53 c ) for October. 

The Heroic Couplet. St. Loe Strachey. Reprinted from 
National Review in Eclectic ( 48 c. ) for October. 

Bookbinding : Its Processes and Ideal. T. J. Cobden- 
Sanderson. Reprinted from Fortnightly Review in Eclectic 
( 48 c. ) for October. 

The Work of Mr. Patbr. Lionel Johnson. Reprinted 
from Fortnightly Review in Eclectic ( 48 c. ) f or October. 

The Art of thb Novelist. Amelia B. Edwards. Re* 
printed from Contemporary Review in Eclectic ( 48 c ) for Oc- 

Half-tone Photo^bngraving Explained. Photographic 
Titmes ( 18 c. ) for August 34. 

How TO Make a Pin-holb Camera. Harper's Yotmg 
People ( 8 c. ) f or October a. 

How TO Make A Book-case. Harper* s Young People 
(8 c. ) for October 23. 

Book Clubs and Home Libraries. Eleanor V. Hutton. 
Harper's Bazar ( 13 c. ) for October 6. 

Dr. Oliver Wendell Holmes. With portrait. Harpef^t- 
Bazar ( 13 c. ) for October 20. 

Louise Imogen Guinby. With portrait. Harper's Bazar 
( 13 c. ) for October 20. 

A Visit to Dr. Holmes. M. V. W. Harper's Bazar 
( 13 c. ) for October 27. 

Professor David Swing. With portrait. Harper's Weekly 
( 13 c. ) for October 13. 

Oliver Wbndbll Holmes. With portraits. A. E. Wat- 
rous. Harper's Weehly (13 c.) for October 20. 

Thb Distribution of Public Documents. George Grant* 
ham Bain. Harper's Weehly ( 13 c. ) for October 27. 

Recollections of Horace Greeley. Justin McCarthy. 
YoutVs Companion ( 8c. ) for September 27. 

The Length of Editorials. William B. Chisholm. Jour^ 
nalist ( 13 c. ) for October 20. 

Thb Boston Journal. Historical Sketch. Fourth Estate 
( 13 c. ) for October 4. 

Thb Historical Novel.— II. George Saintsbury. Reprinted 
from MacmUlan^s Magazine in LittelVs Living Age (sz c. ) 
for October 6. 

OuvBR Wbndbll Holmes. Christian Register for Octo- 
ber XI. 

Oliver Wendell Holmes. Nation for October zi. 

Ouvbr Wbndbll Holmes. Independent for October zi. 

An Autocrat of Love. With illustrations, including a fine 
portrait. Boston Home Journal (130.) for October 13. 

Oliver Wendell Holmes. Outlooh for October 13. 

A London Walk with Dr. Holmes. Hans Yorkel. 
New York Home Journal for October 17. 

Oliver Wendell Holmes. H. T. Sudduth. Interior for 
October 18. 

The Poet's Religion. Christian Register for October z8. 

Thb Burial Place of Oliver Wendell Holmxs. 
Edward A. Rand. Independent ( Z3 c ) for October 18. 

Dr. Holmes with His Neighbors. Edward Everett Hale. 
Independent for October 18. 

Impressions of Dr. Holmes, Edward Everett Hale. 
Outlooh ( 13 c. ) for October 20. 

Oliver Wbndbll Holmes and thb Girls at Wellbslby. 
Florence V. Hughes. Golden Rule for October 25. 

Professor David Swing. Chicago Tribune for October 3 ; 
Chicago Tribune, Inter-Oeean, Herald, Post, Record, and 
Times for October 4. . 

Professor David Swing. With portrait. Chicago Interior 
for October 11. 

Interviews with A. Conan Doylb. New York Herald 
and New York Sun for October 3. 

A. Conan Doylb at Homb. Indianapolis News for Octo- 
ber 6, Louisville Courier-JoumeU, St. Louis Republic, and 
New York Sun for October 7. 

Writers of Louisiana. Rochester (N. Y. ) Democrat 
and Chronicle for September 30; Miemeapolis Tribune for 
October 7. 

The Art of the Short Story. Dial ( 13 c. ) for October 1. 

Thb Risb and Fall of the Thrbb-volume Novel. Wal- 
ter Besant Dial ( 13 c. ) for October i. 

A Reporter's Life. Waverley Keeling. Golden Rule for 
October 4. 


The Writer. 

Ths Elbmbnts of Pobtic Tbaching. Richard Hovey. 
Independent (13 c. ) for September 27. II. Independent 
( 13 c. ) for October 4. 

Curious Old Nbwspapbrs. Boston Home Journal tat 
October 6. 

Nbwspapbr CoLLBcnoNS. Boston 7Vaiwcn>/ for October 6. 

Professor Vincbnzo Botta. New York Tribune, New 
York Herald for October 6. 

Frank L. Stanton. Reprinted from Philadelphia Times 
in Indianapolis Journal for October 7, 

Abbotsford To-day. New York Herald for October 7. 

Thb Nbwspapbr Collbction of thb Lbnox Library. 
New York Times for October 7. 

Intbrvibw with Thomas J. McKbb, thb Nbw York 
Book Collector. Rochester ( N. Y. ) Democrat and Chronf 
icle for October 7. 

Miss Sarah Barnwell Elliott. Elizabeth M. Gilmer. 
New Orleans Picayune for October 7. 

Literary London. Theo. F. Wolfe, M. D. I. New 
York Home Journal for October 10. II. New York Home 
Journal lot October 17. III. New York Home Journal for 
October 24. 

Stanley Ward. New York Commercial Advertiser for 
October 11. 

Rev. S. Baring-Gould. With portrait. Churchman for 
October 13. 

Sarah Orne Jewbtt. Outlook for October 13. 

Joaquin Miller at Home. San Francisco Call for 
October 14. 

American Writers Abroad. New York Herald, WheeU 
ing Register for October 14. 

Charlotte Bronte. — III. Baltimore News for October 14. 
IV. Baltimore News for October ax. 

Octave Thanet. With portrait. St. Paul Pioneer Press 
for October 14. 

The Poets of the Bodlby Head. With portraits of W. 
B. Yeats, Norman Gale, Arthur Symons, Mr. and Mrs. Rich- 
ard Le Gallienne, and Francis Thompson. Katharine Tynan 
Hinkson. Outlook for October ao. 

James A. Froudb. New York TrUmne lot Ox:Xq\>^x %i. 


Dr. A. Conan Doyle arrived in New York 
October 2. 

Mrs. Frances Hodgson Burnett will spend 
the winter in the Riviera. Mrs. Burnett was 
obliged to spend a large part of the summer at 
Washington, owing to the serious illness of her 
son, who is now recovered. 

Miss Agnes Repplier has left London, and 
when last heard from was in Vienna, en route 
for Constantinople, Greece, and Egypt. 

Mrs. Amelia E. Barr is in Europe, where she 
will spend the winter. 

T. B. Aldrich left Boston October 4 for a trip 
around the world. At last accounts he was at 
Yokohama, Japan. 

Barrett Wendell is spending the winter in 

General Lew Wallace is lecturing in Oregon 
and California. 

Acting upon a suggestion made by Frederic 
Harrison, the British Ro3ral Historical Society 
has decided to commemorate this month the 
centenary of the death of Edward Gibbon, 
author of " The Decline and Fall of the Roman 

Miss Harriet Monroe got a verdict for $5,000 
in her suit against the New York World for 
damages because of the publication of her copy- 
righted " Ode " without permission. 

Mark Twain will spend the winter with his 
family in Paris. 

E. Irenaeus Stevenson, of the literary depart- 
ment of Harper & Brothers, and of the Indeptn- 
dent^ has returned to his desk, after a mid- 
summer and early autumn in Zermatt, the Jura, 
and Paris. 

Mrs. Kate Douglas Wiggin is soon to be 
married to George Riggs, a young business 
man of New York. They were together last 
summer on a coaching party in Wales. This 
marriage will not interfere with Mrs. Wiggin's 
literary career. 

Mrs. Julia C. R. Dorr has just returned from 
a long Western trip. 

Herr Bjornstjerne Bjornson, who is at present 
staying in Tyrol with his family, intends to 
spend the winter in Rome. There he hopes to 
finish "a great social drama" upon which he 
has been for some time at work. 

Gilbert Parker has gone to Marblethorpe in 
Lincolnshire, where he is hard at work on a new 
novel to be published next spring. 

Mrs. Louise Chandler Moulton is in Paris for 
a short stay before returning to America, early 
in November. 

F. Marion Crawford will shortly build a fine 
summer residence on the property he has re- 
cently acquired near Hanover, N. H., his wife's 
birthplace. In spite of foreign birth and resi- 
dence, Mr. Crawford regards himself as an 
American citizen, and will hereafter spend his 
summers here. 

The Writer. 


Mrs. A. L. Wistar, whose translations of the 
stories of E. Marlitt and other German writers 
have brought her so much fame, is having a 
cottage built at Northeast Harbor, Me. 

The Midland Monthly ( Des Moines ) offers 
prizes of $20 for the best descriptive paper, 
with photographs or drawings, $20 for the best 
story of any length, $10 for the best short story 
or sketch, and $5 each for the two best short 
poems submitted before December 30, 1894. 
The offer is open only to subscribers for the 

With the October number Home and Country 
( New York ) appeared in a new dress and with 
a new cover. The price has been reduced to 
11.50 a year. 

The subscription price of the Southern Maga- 
zine ( Louisville) has been reduced to $1.50 a 

Everywhere^ a new monthly magazine, has 
been started in Brooklyn, with Will Carleton, 
the poet, as its editor. The first number has 
sixteen pages of good reading, including several 
short stories and some of Mr. Carleton^s poems. 

Margherita Arlina Hamm has succeeded 
Allan Forman as editor and publisher of the 
(yournalist) New York. Mr. Forman has 
gone on a foreign journey, to last a year or 

The best newspaper obituaries of Dr. Holmes 
were those published in the Boston Herald^ 
the Boston Post, the Boston Transcript, and 
the New York Tribune of October 8. 

A. J. Jaccaci has been appointed art editor of 
Scribner'^s Magazine. 

The plant of the Hosterman Publishing Com- 
pany, of Springfield, O., publishers of Woman- 
kind, was destroyed by fire October 19. 

Mrs. James T. Fields, No. 148 Charles street, 
Boston, desires that those having in their pos- 
session letters of interest from the late Mrs. 
Celia Thaxter will lend them to her for use in a 
memorial volume, or send her copies for the 
same purpose. Only a few letters can be used 
in this collection, which is to be a small one, 
but Mrs. Fields wants to see as many letters as 
possible, that she may choose those that are 
best for the purpose. 

George H. Richmond & Co., New York, have 
in press a series of satirical essays and humor- 
ous sketches relating to modern fiction under 
the tide of " The Literary Shop," from the pen 
of James L. Ford. 

Bret Harte has published more than thirty 
volumes and writes at the rate of two a year. 
He passed his fifty-fifth birthday last August. 

David Christie Murray says he thinks noth- 
ing of writing a three-volume novel in five 
weeks, and Mr. Henty, the author of so many 
entertaining books for boys, produces his 
stories at the rate of 6,500 words a day. 

Emile Zola, according to his biographer, 
writes four printed pages in the Charpentier 
edition of his novels every day. This is his 
task ; he never writes less and he never writes 
more, stopping at the end of the fourth page 
even if he is in the midst of a sentence. 

Julian Ralph, whose long association with 
the New York Sun has made him one of the 
best known newspaper men in the country, 
contributes to Scribner*s for November a 
timely article on "A Newspaper Office on 
Election Night." The illustrations represent 
faithfully the scenes and people described. 

A "Real Conversation" between Conan 
Doyle and Robert Barr, giving glimpses of 
Dr. Doyle's home life and his methods of 
work, and reporting his opinions on the state 
of the novelist's art in England and America 
at the present time, appears in McClure^s 
Magazine for November. Several portraits 
of Dr. Doyle and Mr. Barr and views of in- 
teriors in Dr. Doyle's home, a photograph of 
Mrs. Conan Doyle, and a portrait of Sherlock 
Holmes accompany the article. 

The Forum Publishing Company has issued 
(as the October number of the Forum Quar- 
terly) a volume of the autobiographical papers 
that ran through a dozen numbers of the Forum 
several years ago, by President Timothy 
Dwight, W. E. H. Lecky, Professor B. L. 
Gildersleeve, Frederic Harrison, Dr. Edward 
Eggleston, Archdeacon F. W. Farrar, Edward 
Everett Hale, Professor John Tyndall, Pro- 
fessor A. P. Peabody, Professor Edward A. 
Freeman, Professor Simon Newcomb, and 
Georg Ebers. 


The Writer. 

Miss Beatrice Harraden has been asked to 
write a serial for the Century, but refused. " I 
do not like serials," she said. "It is a bad 
arrangement for both author and reader. The 
effect of the story is lost when it is read 
by piecemeal, through several months. The 
reader is disappointed or loses interest, and the 
writer is misjudged." 

The Magazine of Poetry (Buffalo) for 
October contains sketches of George P. Morris, 
Stephen C. Foster, John G. Saxe, Fitz-Greene 
Halleck, and other writers. 

The Review of Reviews for October has por- 
traits of William CuUen Bryant, Parke God- 
win, Charles Dudley Warner, Chauncey M. 
Depew, and Hall Caine. 

In Macmillan^s Magazine for October 
George Saintsbury gives the third and con- 
cluding part of his essay on "The Historical 

"How a Law is Made" is the title of an 
article contributed to the November number of 
the North American Review by Senator John 
L. Mitchell, of Wisconsin, who describes the 
course of a bill through Congress. In the same 
number Mrs. Amelia E. Barr writes about 
"The Modern Novel." 

F. Tennyson Neely, the Chicago publisher, 
who has returned after several months' travel in 
Europe, will soon publish some experiences 
under the title " Foreign Authors as They Re- 
ceived Me." 

Book News ( Philadelphia ) for October has a 
portrait and sketch of George Du Maurier. 

The Century for November signalizes the 
opening of its twenty-fifth year by the begin- 
ning of one of its most important enterprises, 
the Life of Napoleon, by William M. Sloane, 
Professor of History at Princeton College. 
Charles Dudley Warner contributes to the 
number an article on Professor Sloane and his 

It is the custom of John Codman Ropes to 
put his work in type and have it printed before 
turning it over to the publishers, since by this 
means he secures absolute accuracy, and is also 
able to judge of the final appearance of his 

It is spring and sometimes almost midsum- 
mer now in the magazine* offices. The Christ- 
mas numbers were gotten out of the way weeks 
ago, and later numbers have long been in 
various states of forwardness. The spring 
poem inspired by the glories of last May is now 
in t3rpe for May, 1895. 

After Victor Hugo died more than 10,000 
isolated verses were found scattered about his 
room, written on little slips of paper. He used 
to write incessantly, even while he was dress- 
ing himself in the morning. 

Amelie Rives-Chanler, in one of her recent 
books, eclipses all vivid novelists in a bit of 
description of her hero. His heart gives "a 
hot leap along his breast to his throat, leaving 
a fiery track behind it, as of sparks. " 

Miss Kipling, a sister of Rudyard Kipling, 
has gone into literature. She is a Mrs. Fletcher, 
but Kipling is a better name to conjure with. 

As an illustration of the enormous develop- 
ment of newspapers in the United States, it is 
related that in 1880 the newspaper and press 
associations received only 28,000,000 words by 
telegraph, while last year they received by 
wire 1,800,000,000 words. 

Mrs. A. T. Van Derveer, of Long Branch, 
N. J., who is a contributor to the Christian In- 
telligencer, of New York, and the Burlington 
Hawkeye, of Iowa, has been awarded one of the 
prizes offered by the woman's executive com- 
mittee of the board of domestic missions of the 
Reformed Church for a leaflet, entitled "The 
Mission Ball." 

M. Stephane Mallarm^, the French poet, 
suggests that the publishers of books on which 
the copyright has expired should be compelled 
to pay a small royalty into a fund for the 
benefit of needy authors. 

Professor David Swing died in Chicago 
October a. 

Oliver Wendell Holmes died at his home in 
Boston, Sunday, October 7. 

James A. Froude died in London October 20, 
aged seventy-six. 

Professor James Darmesteter died at Mai- 
sons-Lafitte, near Paris, October 26, aged forty- 




Vol. VII. 


No. 12. 

Entered at the Boston Post-office as second-class mail matter. 

CONTENTS : fagb 

Character Nambs in Fiction. Howard MarkU Hoke. 177 
Kbbping Track of Manuscripts. F. M. Howard . .178 

Maria Louisb Pool. Amanda M. Halt 180 

Living by thb Pbn. Elimabeth Cherry Haire. . . . i8a 
MoRB Pbrsonal Tributes to Dr. Holmes. Edna 
Dean Procter^ Thomas Nelson Page, Louise Chandler 

Moulton, E. S. P. Ward, Joaquin MUler 183 

Editorial "84 

The National Amateur Press Assooation. Frank- 
lin C.Johnson '85 

Queries '^5 

The Scrap Basket »86 

Newspaper English Edited 187 

The Use and Misuse of Words "87 

" None " for " No Other." 187 

Book Reviews 187 

Helpful Hints and Suggestions 189 

Photography in Copying, 189 — Qipping with a Pin. . 189 

Literary Articles in Periodicals 189 

News and Notes. 190 


The choice of proper names is an important 
matter in the writing of fiction. While names, 
in actual life, are not necessarily synonymous 
with character, a contrary rule, tacit at least, 
appears to obtain in the unreal life of letters. 
Heroes, heroines, aristocratic families, and pol- 
ished villains have euphonious names; low 
knaves, uncouth or contemptuous names ; and 
humorous characters, humorous names. Ex- 
amination of our best novels will convince the 
doubtful of this fact. Names directly indica- 
tive of character, indeed, were common in the 
old comedies and satires. There Mrs. Mala- 
prop. Sir Jonathan Backbite, Croaker, and 
Lord Foppington were allegorical representa- 
tives. They have been relegated in these days 
to farce comedies and burlesques, in which 
Policeman Glue, Noisy Howell, Miser Grabit- 

all, etc., still proclaim their respective traits ; 
but no dignified writer of fiction now puts such 
placards upon his characters. 

The careful author makes the choice of 
names a matter of earnest research and con- 
sideration. Their fitness is indefinable, ex- 
tremely elusive, and is governed by his own 
taste and individuality. Any one who has not 
given the subject attention will be surprised to 
learn how much more can be done with a char- 
acter after a suitable name has been found than 
previously, and what a clog a poor selection \%, 
I do not allow myself to work upon a tale until 
I find fitting names for all its people, and often , 
put off writing for days until they can be found. 
There is inspiration in a well-chosen name. 
Entire plots are often suggested by a striking 
name, the traits naturally associating themselves 
with it, and the incidents of the tale or sketch 
easily following. A good name makes the 
imaginary hero or heroine seem more real, and 
without such seeming good writing cannot be 

In connection with his observations of life, 
the earnest writer should study into the relation 
of names to character, and he will find much 
that is interesting and valuable. Every one 
knows that a man whom people nickname 
" Bob " is a wholly different person from one 
who is always addressed as " Robert." The 
connection between name and character is 
closer than is generally supposed, and will 
amply repay study. 

A book for the recording of good proper 
names is a highly useful addition to the refer- 
ence library. If a choice cannot be made from 
it, transposition will often solve the difficulty. 
Thus, for instance, Rad cliff may become Ard- 
cliff and Darcliff; and, by changing the last 
syllable, Darman, Ardman, and Radman, and 

Coprrigfat, 1894. bj William H. Hilu. K)ifi|^\&TtaKr««^ 



so on endlessly. Even so slight a change may 
greatly . improve the story. Directories, of 
course, are mines, but much digging is requi- 
site to find a gem. I have found the indexes 
to reports of law cases the very best place in 
which to find good names. Possibly the tradi- 
tions of the law make them more interesting or 
romantic; but, whatever the reason may be, I 
would advise examination of such sources. 

It seems to me that the choice of proper 
names deserves serious attention. All of us 
have read tales that would have been far better 
had better selections in this respect been made. 
Our realists may contend that no such fitness 
of name to character exists in the natural world, 
and may argue that it is exalted position, in the 
case of an aristocratic family, that renders 
the name euphonious, and that the bad deeds 
of a villain make his name an outlaw to har- 
mony. Against this contention I might point 
out various other unrealities which the very 

nature of writing stories makes necessary ; and 
to the argument might reply that, if our impres- 
sion of names is based upon the character of 
the persons to whom they apply, then, in choos- 
ing them for the people of our tales in accord- 
ance with the rule herein suggested, we are only 
copying a phenomenon of the natural world. 

A written story is, after all, like a picture or 
a statue, only a work of art — a representation 
of life. An artist would not mar the beauty of a 
landscape by placing an unsightly object in the 
foreground, nor would a sculptor ruin the grace- 
ful marble form by chiseling a deformed hand 
or foot. Each strives to make every minute 
detail conform to the general harmony. One 
unmusical word may destroy the sweetness of 
a poem, or a false chord mar the cadence of a 
hymn. Character names are an important part 
of fiction, and a poorly-chosen name may spoil a 
beautiful story. Howard Mark le Hoke, 

Harrisburg, Penn. 


For several years publications of all kinds 
have teemed with articles filled with advice for 
young writers. The ambitious young author 
has been told to write only on one side of the 
paper, always to use black ink, not to roll his 
manuscripts, to cultivate a neat, legible hand- 
writing, to revise with great care, and to have 
great patience with the editor upon whom he 
may inflict his early efforts. 

Again and again, he has been warned not to 
offer a treatise on Chinese metaphysics to a 
popular magazine, or a light society sketch 
to an encyclopedia. He has been advised to 
get a copy of the publication to which admit- 
tance is sought, to note carefully its contents, 
and then act accordingly. He has been warned 
that if the periodical in question has not hitherto 
used serials or comic verses, it is not likely 
to use them ; that if it has never printed short 
stories containing more than 5,000 words, it 

would be a waste of postage to send the editor 
a story twice as long. He has been reminded 
that it is hardly a judicious thing to send theo- 
logical discussions to a secular sheet, or epics 

To win respect in the editorial sanctum, the 
young writer has been counseled not to write 
long letters to the editor, or to think it neces- 
sary to explain what his article was about, or to 
supply articles regularly each week or month, 
or to tell the editor that he is young and inex- 
perienced, or to work on the editor's sympa- 
thies, or to ask the editor to tear up or burn the 
manuscript if he cannot use it, or, finally, to 
fasten all hope upon a single publication, when 
there are hundreds in the land. 

Now, all this is very important and useful ad- 
vice — important to the young literary aspirant 
and useful to the overworked editor. But there 
are scores, who have learned these rudimentary 

The Writer. 


lessons, who would like to have their instructors 
go a little further and give them points upon 
marketing and keeping trace of their manu- 
scripts. The Writer has had much to say in 
this line, and it has been of great practical 
value to young authors, and to. older ones, 

For the last seven or eight years, in addition 
to my regular daily work, I have mailed from 
two to six manuscripts each week. Some 
have been accepted immediately, others have 
not been heard from in any way for months, 
others have been accepted, but not paid for 
until they were printed, after the lapse of a 
month, a year, or, perhaps, even five years. It 
soon became a great task upon the memory to 
keep track of these manuscripts. After several 
years* experience the following blank was de- 
vised and adopted : — 

when it is returned. In case the article is 
accepted, space is provided for entering the 
amount paid for it, the rate per 1,000 words, 
the date of payment, and any comment that may 
be of future value. The attached skeleton letter 
has been very useful, since it says, when it is 
filled out, all that needs to be said in almost 
every case. 

This plan has been all that could be desired 
in keeping track of manuscripts, but in another 
way it has been of even greater value. In the 
past two or three years I have made nearly 500 
entries of manuscripts sent away. It is easy to 
see that these stubs furnish a record of very 
helpful information. 

For instance : I have found that the YoutKs 
Companion almost invariably accepts or rejects 
a manuscript in about two weeks, always pays 
when the manuscript is accepted, and, if the 




No. of words 




Seat to .*..... 

Date ^ 

Condition returned MS 

Sent to 

Condition returned MS 


Dear Sir : — 

The enclosed MS., entitled. 

Sent to 


Condition returned MS 

Sent to 

Condition returned MS 



Amount paid, % 

Date of payment 

..Rate i 

is offered at your usual rates. If not available, please return, 
for which find stamps enlosed. 

Remarks • 

Very truly yours. 

This blank provides for recording the title of 
the article, the class of composition to which 
it belongs, the number of words in it, or its es- 
timated length. It also provides address and 
date lines, so that if it should be returned three 
times it can be sent away again each time 
without making an entry on a new page. A 
line is added for each entry, so that a record can 
be made as to the condition of the manuscript 

manuscript is rejected, returns it in good con- 
dition. There is a New York publication which 
has very different information checked up 
against it. This publication has been tardy 
in reading articles, slow in paying for them, 
and in one case a story of several chapters 
sent to its editor was lost. Experience has 
shown that it is a good publication to leave 


The Writer. 

If any of the readers of The Writer have 
any trouble in keeping track of their manu- 
scripts, or would like to keep a compact record 
of their work, this system can be relied upon to 

give satisfaction. It is not copyrighted, and 
any one is welcome to use it who caret to. 

F. M, Howard. 

New York. N. Y. 


We have, all of us, learned that the story of 
any human life, even the humblest and most un- 
eventful, would be full of interest if truly and 
8]rmpathetically told. 

If this is true of human life as a whole, it is 
more strikingly true of those lives which have 
put themselves in rapport with large classes of 
people by what may be presumed to be, in a 
measure, self-revelations. 

In reading the works of all the great masters 
of Fiction, we are constantly peering after the 
man behind the mask. The life of the author 
himself interests us more deeply than his great- 
est creations, especially if we ourselves, how- 
ever modestly, venture to claim a share in that 
magic freemasonry which knits together in one 
band all the devotees of Literature. To us it is 
the greatest of the arts and its masters are the 
crowned leaders of the world. 

And so, though the subject of this sketch 
assures me that there is "really nothing to tell," 
I am certain that even the outward aspects of 
this life, which is, to those who read between 
the lines, more than half hinted, will yield some- 
what of interest and helpfulness to those who, 
not having won reputation, dream of it afar ofiF. 

Maria Louise Pool is ^ every sense a daugh- 
ter of the soil. Bom in the old Bay State, not 
far from that rugged coast the salty flavor of 
which gives pungency to many of her earlier 
stories, never having traveled excepting in her 
own country, and having an almost passionate 
attachment to her home, she came to woman- 
hood surrounded by its influences, apparent and 
latent, its historic earth meaning more to her 
than a kingdom the other side of the ocean, its 
capital city the one city of the world, its literary 
coterie the spur of her ambition and the Mecca 

of her hopes. I do not know how far she has 
outgrown the worship of her early idols, though, 
I dare say, some of them were found to be mere 
simulacra^ men of straw, without weight or sub- 
stance ; but, as a girl of a certain latent intensity 
of nature, which you felt rather than defined, it 
did her no harm to have before her such models 
and heroes as the New England classic authors. 
Ideals and tastes inspired and formed by such 
writers as Lowell, and Holmes, and Rose Terry 
Cooke, and Mrs. Spofford, and the rest of the 
long chain of illustrious names, which, for 
twenty years, made the Atlantic Monthly the 
star of the magazine world, are good working 
forces and precious capital to an ambitious 
writer. No doubt by them Miss Pool was 
helped to handle her creations in a manner ail 
her own. 

She began to write e&rly for many periodi- 
cals and newspapers. Some of her stories ap- 
peared in the Galaxy^ that New York magazine 
which came as a protest against New England 
exclusiveness, and, like all protests nnsus- 
tained by wealth and influence, died too soon. 
Later, the New York Post and Trihunt began 
to welcome her papers. Her first book, " A Va- 
cation in a Buggy," is an aggregation of letters 
contributed to the Niw York Evening Post 
Their freshness, humor, and, perhaps most of 
all, their individual flavor attracted the attention 
of the publishing house of G. P. Putnam*8 Sons, 
and they solicited of the author permission to 
put them into covers. The result is a bright 
and charming little book. 

It was soon after the appearance of this first 
book that Miss Pool made her second visit to 
the South, this time tarrying for some weeks 
in the mountains of North Carolina. While 

The Writer, 


she was here the proof-sheets of "Tenting at 
Stony Beach " passed through her hands, and 
out of this visit came the inspiration of numer- 
ous attractive letters to the New York Tribune^ 
and, later, of " Dally," up to that date her most 
important work. 

Her studies of the poor white type of moun- 
taineer are most perfectly realized in the slight 
sketch of Daily's miserable brother, whose 
dwarfed soul had a single noble attribute — his 
love for ** thur mountings." Dally herself is in- 
debted for her gifts and graces mainly to her 
creator's imagination. Like Miss ^Murfree's 
heroines, she was made, not born. * 

Following " Dally " appeared in surprisingly 
rapid succession, " Roweny in Boston," " Mrs. 
Keats Bradford," "The Two Salvinis," 
"Katharine North," and "Out of Step," all of 
them testifying that Miss Pool is at her best 
when her foot is on her native heath and her 
types are of her own New England. 

This is not meant as ungracious criticism. 
This world is not a microcosm, and whoever takes 
it for his field must inevitably miss some of its 
most notable and splendid details — those salient 
details which the specialist eagerly appropri- 

Miss Pool's genre pictures of New England 
have an honored niche of their own in our lit- 
erature. They are not like the work of some 
of the older writers, but they are like New 
England. They may not have that subtle, elu- 
sive grace which we call the literary quality, 
but that skill which selects from the great mass 
of common-place, humdrum living that which is 
individual and characteristic and photographs 
it with such startling vividness that the secret 
of itself stands revealed — what is it but the 
highest literary art.^ Surely this must be 
genius which thrills us with interest in the for- 
tunes of persons whom in actual life we should 
dislike, which moves us to smiles and laughter 
and to tears as readily, which enwraps us and 
penetrates us, without and within, with the 
atmosphere of New England, which renews for us 
the breath of her pine woods, the pale beauty 
of her late spring, the sense of her thrift, her 
comfort and *• faculty," her shrewd common- 
sense, with its twinkle of humor, her kindly, 
warm heart under its snow of reticence and 

silence, her straight-laced morals, so alien to 
this generation, and unpractical ideals yet more 
alien, and so strangely incompatible with the 
rest of the New England character ! You can 
tell your friend of the West or South that if he 
wishes to know New England, he may read Miss 
Poors stories, and his future personal knowl- 
edge will not belie you. 

I think it is their very veraciousness 
which has made some home critics luke- 
warm or indifferent. Possibly, New Eng- 
land does not like to see herself "as in a 
glass," for the picture is not wholly flatter- 
ing. It has the merciless truthfulness of 
the photograph. The high cheek bones and 
stern visage of the old Puritan are there. 
The outlines are too hard for beauty some- 
times, too severe, too literal. We thought we 
had changed all that, comfortably outgrown it, 
become quite modern and gracefully conven- 
tional, and, behold, here comes one who shows 
us that blood tells, tells for all time and under 
all conditions, and can by no means of sophisti- 
cal draping ever be permanently concealed. 

Verily, Praise-God-Bare-bones an'd Mis^ Sar- 
^eant, of the Browning club, are blood-relations. 

New York loves New England, — and smiles 
at her whimsies, — and reaches out a cordial 
hand to this delightful artist, but the soul of 
cautious New England doubts. Let us wait 
awhile! Do we really look like that.*^ In the 
mean ^time, is it possible that we have, right 
here, the great American Novel — and not one, 
but several ? 

It almost goes without saying that such stories 
as these of Miss Pool^s are not done as tasks, 
or primarily for financial rewards. She is a 
natural writer and has always loved her work, 
and, most fortunately, she has had no tastes in- 
compatible with a whole-hearted devotion to it. 
Though not unsocial, she is indifferent to society 
in the popular sense. Most of her life has been 
spent away from great towns and their distrac- 
tions. Such seclusion, indeed, has been essen- 
tial. The exactions of a peculiarly nervous 
organization were early recognized and the 
needful concessions were made not unwillingly. 
Always a lover of the country, she has found in 
the retirement of the old farmhouse, where, un- 
til recently, she has dwelt for many years, not 


The Writer, 

Qnly a happy home in the company of the friend 
of her heart, but also the leisure and quietude 
suited to nourish her genius. 

The devotion of her faithful friend, intelli- 
gent, S3rmpathetic, unselfish, tender, has been 
an important element in Miss Pool's life and a 
factor in her success. By her, all troublesome 
worries have been kept at bay, all vexations de- 
prived of their sting, and the common cares of 
their dual life cheerfully assumed. The friend- 
ship of these two women, cemented more firmly 
as the years go by, adds a touch of romance to 
their dignified and noble lives. May it be long 
before the unkindness of fate breaks the tie. 

Miss Pool's life has not been marked by 
vicissitudes. It has been full of congenial 
work, varied only by simple diversions. For 
some years she kept a riding pony for her use ; 
later an afternoon drive with the horse that was 
** not a woman's horse " was wont to brush the 
cobwebs from her brain. Though a true lover 
of fine scenery, she is a bad traveler, the inci- 
dents of the journey making havoc with her 
nerves. Lovers of dogs will be pleased to know 
that she is one of that unnamed guild, and, as 
she says, "proud to have them for friends." 
Two beautiful terriers are distinguished, mem- 
bers of her family, and never to be long sep- 
arated from her without grief. 

Miss Pool's hours of work are always in the 
morning. Her characters are, she says, " real 
folks " to her, and if she keeps their company 
late in the day, she is apt to be up with them till 

the small hours. But from nine to twelve she 
is nearly always busy at her desk. 

She has not reached her present distinctioa, 
at a bound, but, like others, has found that the 
majority of editors do not hanker after manu- 
script from any one upon whom the world has 
not set its seal of approval. She confesses to 
having "a fine collection of the printed forms 
of refusal from publications." The form of 
declination that pleased her sense of the humor- 
ous most was that of the magazine which 
thanked her for the opportunity of reading her 
manuscript, but "preferred to publish matter 
that its readers liked." She is, at present, tak- 
ing an enforced rest on account of impaired 
health. Her large circle of readers will warmly 
hope that this recess will not need to be long^ 
and that the future will be afiluent of successes 
for one who has so bravely earned them. 

So far as the present writer is aware, Maria 
Louise Pool is the only New England story- 
writer who has not been helped in her career by 
birth, position, friends, or influence. She may 
well be proud of her fame, for she has won it 
solely by her own gifts and industry. Her 
heart beats warm and strong with the life-blood 
of the people. So born and so nurtured, she 
has become their best interpreter and is, in the 
truest sense, a writer of that great To-day^ 
which so boldly lords it over the fast darkening; 

Amanda M, Halt, 



For the information of those who may be dis- 
couraged by the assertion that it is impossible 
for the young author to subsist by the fruits 
of his pen, I wish to say that, without any 
previous effort in that line, I took up that very 
task in Januslry, 1894, and since then have sup- 
ported a family of five comfortably without 
any aid from other sources. Therefore, I say 

that what I have done others can do, and that 
young writers who have ability can subsist on 
pen efforts if they combine with it an idea of the 
value of time and the use of business methods 
in disposing of their articles. 

A woman is said to be greatly handicapped 
when she attempts to dispose of literary ma- 
terial. I vefiture to dispute this, for a womaik 

THE Writer. 


who can write well is welcomed and receives 
her full meed of praise. In a newspaper office 
it is hard to convince the city editor that a 
woman can do the work usually ^ven to a man, 
but if the woman has " a nose for news,'* courage, 
and does n*t mind wetting her dress and burning 
off her overshoes getting a good description of 
a few fires, she can conquer even the city 
editor, and comes in for praise. If she takes a 
man's work, and does it ** man well," there will 

not long be discrimination against her. News 
paper work, except the insignificant average, 
society work (which is not real newspaper 
work), is hard for a woman, but it is the best 
training the literary worker can have. Never 
can she forget the terse phrase: **Get the meat 
ax ! *' or see the lopping off of her superfluous 
phrases and numerous ill-placed adjectives, 
without learning to be careful in composition. 
CiNONNATi, O. Elisabeth Cherry Haire, 


The following tributes to the memory of Dr. 
Holmes were received too late for publication 
in the Holmes Memorial number of The 
Writer : — 

The last time I saw Dr. Holmes, except in 
public, was at his home in Beverly, three sum- 
mers ago. He seemed very well, but as he put 
on his spectacles to read a paragraph from a 
book by his side, he said : — 

" Not that there is anything the matter with 
my eyes, but books are not so well printed now 
as they used to be ; and, though voices don't 
sound quite so clear as they did when I was 
younger, it's from no defect in my hearing — 
people don't speak distinctly in these days; 
and if my step is not so firm as it was once, it 
is only because the sidewalks are uneven ! " 

Thus, with grace and cheer, he dismissed 
lightly the infirmities of age. 

Edna Dean Proctor, 

I read the ** Autocrat " when I was a boy, and 
thus Dr. Holmes became the first American 
writer to me. I have since come to know Em- 
erson, Hawthorne, and Poe; but somehow I 
have never moved the " Autocrat " from the place 
it took when I was a boy. I always think of it 
just as I do of the dear old doctor — as sweet. 

There are not a great many written things 
which have that quality, I think. 

Thos, Nelson Page. 

i have onlv reached home this afternoon from 
Europe. I found your request awaiting me. I 
suppose your November number is already out, 
so that it is too late for me to express in it my 
sense of the great loss it is, not only to the 
world of letters, but to the world of loving 
friends who held him dear, that Dr. Oliver 
Wendell Holmes has left the sphere so long 
enriched by his gracious presence. 

Louise Chandler Moulton. 

38 RuTiJiND Square, Boston, November 6, 1894. 

My heart is too full yet of our loss to write 
of Dr. Holmes. He is the last of our great ; 
and none of them were dearer to the American 
people. E, S. P* Ward. 

Nbwton Cbntrx, Mass. 

Yours, asking for a paragraph, came too 
late. Pray don't think me churlish. If I could 
have had your letter in time, believe me, I 
should have plucked with sad, sweet pleasure 
the greenest bay leaf in the Sierras for the tomb 
of dear, gentle, genial, and whole-souled Dr. 
Holmes. Joaquin Miller, 


The Writer. 

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the magazine, and will be sent, postpaid, to any 
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*•* Contributions not used will be returned, if a stamped and 
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283 Washington street ( Rooms 9 and 10 ), 

P. O. Box 1905. Boston, Mass. 

Vol. VII. December, 1894. No. 12. 

Short, practical articles on topics connected 
with literary work are always wanted for The 
Writer. Readers of the magazine are invited 
to join in making it a medium of mutual help, 
and to contribute to it any ideas that may occur 
to them. The pages of The Writer are 
always open for any one who^as anything help- 
ful and practical to say. Articles should be 
closely condensed; the ideal length is about 

1,000 words. 

« « 

With this number closes the seventh volume 
of The Writer. The January number will 
include a title-page and complete index for the 
volume. The bound volume of The Writer 
for 1894 will be ready soon after January i, in 
uniform style with previous bound volumes of 

• *♦ 

Subscribers whose subscriptions may expire 
with the present number are respectfully asked 
to send in their renewal orders as soon as may 
be convenient. It is the rule of The Writer 
not to send the magazine after the term of sub- 
scription has expired, unless a renewal order, 
with remittance, is received. It is hoped that 
every present subscriber will renew his sub- 
scription, and if renewal orders are sent in as 
soon as the current number is at hand, some in- 
convenience in the publication office will be 
saved, and delay in the receipt .of the maga- 
zine will be prevented. Friends of The 
Writer will greatly help the magazine if they 
will recommend it to others, or send in new 
subscriptions together with their own renewals. 
The Writer needs many new subscribers to 
enable it to attain the development requisite for 
its greatest usefulness. Those who know the 
magazine and find it helpful and will recommend 
it to their friends will by so doing help them- 
selves, the publishers, and those whose atten- 
tion is directed to the publication. 

« « 

For a young writer, or in fact for any one inter- 
ested in literary work, a subscription for The 
Writer, or a set of bound volumes of The 
Writer and The Author, will make a most 
attractive Christmas present. The seven bound 
volumes of The Writer, from 1887 to 1894 in- 
clusive, will be sent, prepaid to any part of the 
United States or Canada, for |io. If ordered 
separately, the seven volumes would cost 
$11.50. For $11 the seven bound volumes of 
The Writer and a subscription for 1895 will 
be given. A complete set of The Author — 
three bound volumes — will be added for I5 
additional. The bound volumes of The 
Writer and The Author together make an 
invaluable encyclopaedia of information about 
authors and the methods of literary work. The 
books are attractively bound in cloth, with gold 
lettering on back and side, and will be a useful 
and ornamental addition to the shelves of any 

• *♦ 

Speaking of libraries, friends of The Writer 
will do the magazine a service by asking libra- 

The Writer. 


rians to order the bound volumes and enter 
their subscriptions for their libraries, or by 
'lending to the publishers the names of libraries 
where The Writer is not catalogued. As a 
magazine of practical information about authors 
and the methods of authorship, The Writer 
ought to be in every public library, and ex- 
perience has shown that librarians are quick to 
order it when it has been recommended to them 
or asked for by their readers. The publishers 
do not hesitate to ask such favors of their 
readers, for the reason that from the beginning 
the main purpose of The Writer has been to 
be helpful to those to whose attention it should 
come, and so it may rightfully ask reciprocal 
help in extending its circulation and its useful- 


The National Amateur Press Association is 
a unique literary organization. The associa- 
tion has quite a large membership of young 
men and women who write merely for the 
pleasure it gives tliem and for the educational 
value of the work. The editors and authors of 
the "N. A. P. A." make writing a recreation 
rather than a vocation. With some other source 
of income to make existence sure^ they write 
with their minds at ease, undistracted by any 
anxiety regarding cruel editors, for iheir pro- 
ductions are sure of publication in some of the 
various amateur magazines. 

The amateur writer is not a competitor of his 
professional brother. In fact, many profes- 
sional writers are members of the ** N. A. P. A^" 
and contribute to its literature. 

The " N. A. P. A.," as it now is, is a boon to 
the educated invalid, or the ennuyd^ or the lazy 
litterateur. The literary empiric, the dabbler, 
the indolent writer of society verse, finds much 
amusement in the institution. But there are 
also connected with the association many young 
men and women who write for the amateur press 
for the practice it gives them. Many ambitious 
amateurs make the ** N. A. P. A." a stepping- 
stone to professional literary work. 

There are, in many of the towns and cities of 
America, local clubs that are ofiF-shoots of the 

parent society. These local clubs publish of- 
ficial organs and other papers, and greatly assist 
in keeping the national association in a flourish- 
ing condition. Franklin C Johnson, 



[ Questions relating to literary work or literary topics will be 
answered in this department. Questions must be brief, and 
of general interest. Questions on general topics should be 
directed elsewhere.] 

( I.) If an author, after copyrighting a novel, 
wishes to change the title, what must he do ? 

( 2. ) Does a short article have on the whole as 
good a chance with the monthlies at one season 
as at another, or are there times to be avoided? 
When is the best time to submit a serial } How 
long beforehand are magazines " made up " for 
the coming year in detail 1 R. R. 

[(i.) If it is desired to change the copy- 
righted title of a novel before the book is pub- 
lished^ all the author need do is to copyright 
the new title and proceed' as if the earlier copy- 
right had not been secured. It is seldom ad- 
visable to change the title of a book after its 
publication, but if such a change is made, both 
the new title and the old should be used on the 
title page, and the new title should be entered 
for copyright, so that the copyright inscription 
may read, — for instance, — "Copyright, 1882 
and 1894, by John Smith." 

( 2. ) It does not matter, as a general thing, 
at what season of the year a manuscript, either 
long or short, to be published serially or other- 
wise,.is submitted to a magazine, excepting that 
a " timely " article must not be submitted so 
late that the editor cannot by any possibility in- 
clude it in his forms. The main features of the 
March magazines — the leading magazines, that 
is to say — are practically settled now ( Decem- 
ber I ). The January magazines are mostly 
printed, and the February magazines are practi- 
cally in type, with most of the illustrations 
made. In each case there may be forms left 
open for late matter which must go in, and 
which cannot be obtained far in advance, but 
the casual contributor has no interest in such 
pages. Of course, the smaller the magazine, 
the later it can hold back its forms, and some 
of the big periodicals, like the Forum^ the 
Riview of Reviews^ and the North Amtrican 


The Writer. 

Review^ which make it a point to discuss timely 
topics, print their final forms only shortly before 
publication day. It is significant, however, that 
although Dr. Holmes died October 7, the only 
large November magazines which had a signed 
article regarding him were the Forum and the 
Review of Reviews, It was possible for The 
Writer to make its November issue a ** Holmes 
Memorial Number ** because it does not go to 
press usually until the last day of the month. 
— w. H. H.] 

What is the usual rule for the make-up of 
a book ? Should the preface precede the table 
of contents, and where does the dedication 
come ? L. o. s. 

[ The usual order in the make-up of a book 
is : Half-title, with reverse blank; full title with 
reverse blank, or with copyright notice on re- 
verse ; dedication, with reverse blank ; preface ; 
table of contents ; list of illustrations ; body of 
the work; appendix; glossary; index. The 
copyright notice must appear either on the title 
page or its reverse ; generally it is printed on 
the reverse. None of the divisions mentioned 
above should begin on a left-hand page. If a 
list of errata is necessary, it may follow either 
the list of illustrations or the index. — w. h. h. ] 

What are the rules governing the use of the 
editorial *♦ we " ? H. A. b. 

[ The best modern practice is to use the 
editorial ** we ** as little as possible. Editorial 
writers on a paper which has more than one 
editor may properly use ** we ** if the editorials 
are unsigned, since it is understood that each 
writer speaks not alone for himself, but for his 
associates in the conduct of the paper. Even 
in such cases, however, the best papers avoid 
the use of ** we ** as much as possible, prefer- 
ring to say "The Journai thinks" or "The 
Press believes," rather than "we believe" or 
"we think." In the case of signed articles, 
whether they are editorial or not, the editorial 
" we " should never be used, and the writer 
who uses the stilted " we " in speaking of him- 
self in a letter submitting a manuscript to an 
editor may be sure beforehand that the manu- 
script will be rejected. The simple, direct, 
modest "I" should take the place of "we," 
or " the writer," or any set phrase in any article 

followed or preceded by the writer*s signature - 
The New York Herald even goes so far as to 
instruct its reporters to use " I " in unsigned 
news articles, so that instead of saying "When 
the Herald reporter called on Mr. Depew yes- 
terday," the Herald rtpoTttr would say , " When 
I called on Mr. Depew yesterday." It is 
questionable whether the use of " 1 " in such 
unsigned articles is justifiable. In* the case, 
however, of a paper which has only one editor^ 
whose name appears at the top of the editorial 
column, " I " may properly be used in editorial 
articles, even though they are not signed. 
— w. H. H.] 


Can any reader of The Writer give me some 
information about the following poem, whether 
it is a translation or original, if there are more 
lines, and who the author is ? 

Off by the Toicelett, viewless shore 
My weary spirit ever more 
Wanders where oft it went before. 
Searching for the pathway o*er, 
Unto the gates and golden floor, 
Looking, longing evermore. 

Weary search, it ceases never, 
Peering into mists that sever 
This land from that, alai ! forever. 

Can none the silence ever break ? 

Will none recross the phantom lake. 

Or hither voyage ever take 

To bring from lands that Prophets spake 

One messenger of all that make 

The silent armies of the dead ? 

" Not one," the answering silence said. 

In sullen, low, and deep refrain ; 
" Oat from those mists of solemn main 

Not one shall e*er codm badi again.*' 

I have quoted the lines from memory, ho I 
may not have given them correctly. 

Olivia T. Clossom. 

Washington, D. C. 

Permit to say that I have read with a keen 
appreciation and delight, and perhaps with a 
jealous eye, the personal tributes to the late 
Dr. O. W. Holmes in your last issue. I 
would like to add, if I may, that to me he has 
been a veritable sunbeam, the warmth and glow 
of which can never leave me. I am reminded of 
one thing he said, the principle of which seems 
to me to explain so much, to be of so great im- 

The Writer. 


portance to mankind, that I fain would call the 
attention of a world to it. I may not give 
the exact words, neither can I say in which of 
his works I found it, but it was something like 
this : If, in laying aside a vice or vicious habit, 
one fails to put in its place some active prin- 
ciple of good, the character will grow narrow, 
will deteriorate. 

I cannot doubt his greatness, for he has 
awakened that love which is greatest of all; 
neither do I doubt that the secret of his great- 
ness was the " childlike spirit," his reverence 
for everything good and sacred, and his noble 
sympathy with his kind. These are things that 
cannot let his name perish. A. R, Graham, 

Grand Rapids, Mich. 


Mr. Greenhalge will remain 
at the State House. The 
people will declare their de- 
sire to have him remain in no 
uncertain tones. ^Lynn Daily 

Mr. Greenhalge will remain 
at the Sute House. The 
people will declare in no un- 
certain tones their desire to 
have him remain. 

There are no armed bodies 
of Kolbites coming to the 
capital and none is expected. 
'^ Montgomery Despatch in 
New York Sun. 

There are no armed bodies 
of Kolbites coming to the 
capital and none are expected. 

All doubts as to the wide- 
spread populauity of football 
were effectually set at rest 
yesterday mornmg when the 
Sun appeared with the results 
of no less than loo games 
played on Thanksgiving day. 
—New York Sun. 

All doubts as to the wide- 
spread popularity of football 
were effectually set at rest 
yesterday morning when the 
Sun appeared with the results 
of no fewer than too games 
played on Thanksgiving day. 


[ Brief, pointed, practical paragraphs discussing the use and 
misuse of words and phrases will be printed in this department. 
All readers of The Writbr are invited to contribute to it. 
Contributions are limited to 400 words ; the briefer they are, the 

" None " for " No Other."— The vigor with 
which the New York Sun repels any criticism of 
its English shows that it realizes the importance 
of correctness. When it says: " In no country 
in the world is the dictionary held in such es- 
teem as in the United States," it means, of 
course, in no other country. No doubt its 
fighting editor will be down upon me with kicks 
and cuffs, reminding me of Macaulay, and 
pleading ** usage," but I decline in advance to 
be thus extinguished. Usage covers many sins, 

but it cannot be made to justify saying ** none, 
when we mean " no other," though it be what 
Dr. Holmes called "a Macaulay flower" of 
style. H. L. R., JR. 



MxTHODS OF Authors. By Dr. Hugo Erichsen. 170 pp. 
Qoth, $1.00. Boston: The Writer Publishing Company. 

Not only all who write, but all who read, are 
interested to know how great authors have 
achieved their work, to see them in the work- 
shop, so to speak, and to be informed about the 
methods of production of the masterpieces of 
the world's literature. To those who read such 
information it is interesting, because it heightens 
their enjoyment of the books they love ; while 
to those who write it is valuable, because it 
gives them almost the only instruction available 
in the literary art, and teaches them by example 
how their own literary work may be lightened or 
improved. Dr. Erichsen has written both for 
the reader and the writer in his attractive and 
entertaining book, and the writer will find it as 
instructive as the reader will find it fascinating. 
Much of the material for the book has been 
gathered directly from the authors themselves,, 
and the rest has been taken from authentic 
sources. Not only American and English 
writers, but the writers of France, Germany,, 
and other European writers, are included in' the 
work. The information gathered is divided 
into chapters, entitled : Eccentricities in Com- 
position; Care in Literary Production; Speed 
in Writing; Influence Upon Writers of Time 
and Place; Writing Unckr Difficulties; Aids 
to Inspiration; Favorite Habits of Work; 
Goethe, Dickens, Schiller, and Scott; Burning 
Midnight Oil; Literary Partnership; Ano- 
nymity in Authorship; System in Novel-writing;; 
Traits of Musical Composers; The Hygiene of 
Writing; and A Humorist*s Regimen. There 
is hardly a page in the book that does not eive 
some useful suggestion to students of author- 
ship, and those who read it simply for enter- 
tainment will find it full of fascinating interest. 

An Introduction to tmk Study op English Fiction. By 
William Edward Simonds. 340 pp. Cloth, $1.00. Boston : 
D. C. Heath & Co. 1894. 

Professor Simonds has aimed to tell in out- 
line the story of the development of English 
fiction, and to indicate the characteristics of 
successive epochs in its growth. The first part 
of his book is made up of chapters on Old Eng- 
lish Story-Tellers ; The Romance at the Court 
of Queen Elizabeth ; The Rise of the Novel ; 
The Perfection of the Novel ; Tendencies of 
To-day; and Books for Reference and Reading. 
These chapters fill ninety pages. The other 


THE Writer. 

150 pages of the book are filled with typical 
selections from English literature, followed by 
an index. 

Vsrr PocKST Manual or Printinc 86 pp. Leather, 7s 
oeots. Chicago : The Inland Printer Co. 1894. 

Not only printers, but authors, editors, news- 
paper men, publishers, and all who have an^- 
thmg to do with the printer*s art, will find this 
little pocket manual a helpful and convenient 
reference book. It includes the essential rules 
of punctuation and capitalization, some remarks 
on style, a corrected page of proof showing the 
right use of proof-reader's marks^ rules for the 
make-up of a book, information about the im- 
position and size of books, sizes of the un- 
trimmed leaf, the type standard, the number of 
words in a square inch of typ>e, directions for 
securing copyright, a complete set of diagrams 
for the imposition of forms, and numerous 
tables, and hints and suggestions for printers 
of much practical value. The book is of con- 
venient size for the vest-pocket, where the owner 
is likely to carry it for constant reference. 

PansswoRK. A practical hand-book for the oae ol pressmen 
and their apprentices. Br William J. Kelly. 96 pp. Cloth, 
I1.50. Chicago : The Inland Printer Co. 1894. 

Mr. Kelly is the superintendent of the web 
color printing department of the New York 
Worla, What he does n't know about practi- 
cal printing isn*t worth knowing, and he tells 
about all that he does know in this compactly- 
written book. It is a comprehensive treatise on 
presswork of all kinds, describing the various 
methods of making readv forms on cylinder and 
bed and platen presses, giving detailed directions 
for overlaying and underlaying, the prepara- 
tion of tympans of all kinds, the treatment of 
inks, the care of rollers, the selection of papers, 
—everything, in short, that the modern press- 
man needs to know. The book is the result of 
thirty years' experience in active presswork, 
and as such it is invaluable to publishers and 

Tmrss Boys on an Eukctiiical Boat. By John Trowbridge, 
ais pp. Cloth, $1.00. Boston : Houghton, Mifllin, & Co. 

In the guise of a fascinating story of the ad- 
ventures of three boys, who enjoy a great many 
interesting and exciting experiences, Professor 
Trowbridee gives his readers a great deal of 
practical knowledge about the wonders of elec- 
tricitv. His book has all the absorbing inter- 
est of a live boys' story, and it has a practical 
Talue besides, which makes it a welcome addi- 
tion to juvenile literature. 

Tmb Story or a Bad Bov. By Thomas Bailey Aldrich. 
HoUdav edition, with iliustratioas by A. B. Frost. 186 pp. 
Ooth, ia.oo. Boston : Houghton, Mifflin, & Co. 1894. 

At last Mr. Aldrich's delightful " Story of a 

Bad Boy ** has been adequately illustrated. Mr. 

F'rost hstM entered fully into the spirit of the 

book, and his admirable pictures, reproduced 
in this handsome holiday edition, are as full of 
fascinating interest as the story is itself — and 
there could be no higher praise. Pictures and 
text together make one of the most charming 
books imaginable, and one that will, no doubt, 
be taken down as a welcome gift from countless 
Christmas trees. 

RotJND TMx RxD Lamp. By A. Conan Doyle. Second edi- 
tion. 307 pp. Qoth, $1.50. New York: D. Appleton ft 
Co. 1894. 

Not all the admirers of Conan Dovle will 
agree with him that it is the province ot fiction 
to treat of painful things as well as cheerful 
ones. It may be true, as he says, that a tale 
which may startle the reader out of his usual 
grooves of thought, and shocks him into seri- 
ousness, pla^s the part of the alterative and 
tonic in medicine, bitter to the taste, but bracing 
in the result. Real life, however, contains so 
much that is bitter — and bracing, possibly — 
that there is hardly need of fiction to fulfil the 

Purpose of "the alterative and the tonic.** 
lumankind needs to be cheered and amused 
rather than shocked and depressed, as arule, 
and it may well be doubted, after all, whether 
anything is gained by depicting the darker side 
of life with microscopic realism. There are 
only two or three stories in " The Red Lamp,'* 
however, which the objector to morbid realism 
would have had left out of the collection. ** His 
First Operation " is one of these. ** The Curse 
of Eve " is perhaps another, and ** The Case of 
Lady Sannox " is the worst of all. It is difficult 
to see what excuse there could be for its pub- 
lication, or what good could possibly result 
from it. 

With this criticism made, so far as the rest of 
the volume is concerned the critic has only to com- 
mend. The chief characteristic of Dr. Doyle's 
stories is their strength, and the next is the 
truthful vigor of their realism. Oi these ** facts 
and fancies of medical life," — the red lamp in 
England being the usual sign of the general 
practitioner, — only one or two are weak in any 
sense, and there is not one that is not interest- 
ing. In "A Medical Document" Dr. Doyle 
makes some amusing remarks about the uses 
of medicine in popular fiction, that is to say, of 
what the folk die of, or what diseases are made 
most use of in novels. ** Some," he says, " are 
worn to pieces, and others, which are equally 
common in real life, are never mentionea. 
Typhoid is fairly frequent, but scarlet fever is 
unknown. Heart disease is common, but then 
heart disease, as we know it, is usually the 
sequel of some foregoing disease, of whicn we 
never hear anything in the romance. Then 
there is the mysterious malady called brain 
fever, which alwavs attacks the neroine after a 
crisis, bat which is unknown under that name 

The Writer. 


to the text-books. People when they are over- 
excited in novels fall down in a fit. In a fairly 
large experience I have never known any one 
to do so in real life. The small complaints 
simply don't exist. Nobody ever gets shingles, 
or quinsy, or mumps in a novel. All the 
diseases, too, belong to the upper part of the 
body. The novelist never strikes below the 
belt." Fiction writers may get some useful 
hints from Dr. Doyle's suggestions. 

Thb Booir OP THB Fair. An historical and descriptive pres- 
entation of the wodd's science, art, and industry, as viewed 
through the Columbian Exposition at Chicago in 1893. By 
Hubert Howe Bancroft. Part XII. 40 pp. Paper, $1.00. 
Chicago and San Francisco : The Bancroft Company. 1894. 

Part XII. of the Bancroft Book of the Fair 
concludes the chapter relating to the depart- 
ment of horticulture and forestry, and begins 
the description of the department of mines, 
mining, and metallurgy. The pictures are ex- 
ceedingly fine and interesting, equal in all re- 
spects to expensive photographs, while the 
letterpress is satisfactory. The full-page pic- 
tures in this number include a view across the 
South canal, the administration plaza, a bird's- 
eye view of the exposition, the minine building, 
north front, and a general view of the depart- 
ment of mining. 

The American Annual of Photography and Photo- 
graphic Times Almanac por 1895. 43^ pp. Paper, 50 
cents. New York : Scovill & Adams Co. 1894. 

The latest achievements in photography are 
described and illustrated in this standard annual, 
the appearance of which is looked forward to 
from year to year by all photographers. The 
publishers say that the book now has reached a 
sale of more than 20,000 copies. Besides valu- 
able calendars, formulas, tables, etc., and up-to- 
date articles describing interesting photographic 
experiments, the volume has more than eighty 
fine illustrations, many of them full-page pic- 
tures. Every photographer will want to nave a 


[ AU books sent to the editor of The Writer will be ac- 
knowledged under this heading. They will receive such further 
notice as may be warranted by their importance to readers of 
the magazine.] 

How Thankful was Bewitched. By James K. Hosmer. 
a99 pp. Paper, 50 cents. New York : G. P. Putnam's 
Sons. 1894. 

Saint and Sinner. By Fanny May. ai6 pp. Paper, 50 
cenu. New York : J. S. Ogilvie Publishing Co. 1894. 

From Heaven to New York. By Isaac George Reed, Jr. 
114 pp. Paper, 50 cents. New York: Optimus Printing 
Co. 1894. 


a book which was at my disposal only for a very 
limited time. It occurred to me that I might save 
time and ensure accuracy by doing the copying 
required with my camera. Setting up the book 
before the camera and focussing so that the 
image on the ground glass was somewhat re- 
duced, I found that I could get two pages of an 
octavo volume on a 5x8 plate and still have 
the print completely legible. In only a part 
of the short time at my disposal I made all 
the plates I wanted, developing them afterward 
at my leisure. Bromide prints from them made 
perfect copy for the compositor. For copying 
music, diagrams, pictures, letterpress in foreign 
languages, shorthand notes, or technical prints 
of any kind, the camera is far more useful than 
the pen. What I want now is some kind of 
paper that can be printed on directly through 
the lens, to save the necessity of developing a 
plate and printing from it afterward. It does not 
matter if the copy is a negative and not a posi- 
tive. For the purposes of the compositor it can 
be made a positive by setting it up reversed 
against the light. If any reader of The 
Writer can suggest such a paper, I shall be 
glad to hear from him. a. f. 

Boston, Mass. 

Clipping with a Pin. — An editorial friend 
showed me recently that it is about as easy to 
get a clipping from a newspaper with a pin as it 
is with a pair of shears, — especially if the 
pin is at hand and the shears are not. He 
scratched a line with a pin around a paragraph 
in a newspaper as he walked along the street, 
and in a moment more had torn it neatly out, 
with the edges almost as straight as I could 
have made them with my shears. t. o. p. 

Chicago, 111. 


[The publisher of Thk Writes will send to any addreas a 
copy of any magazine mentioned in the following reference list 
on receipt of the amount given in parenthesis following the name 
— the amount being in each case the price of the periodical, 
wUk tkrtt c*nt* p^ttagt added. Unless a price is given, the 
periodical must be ordered from the publication oflice. Readers 
who send to the publishers of the periodicals indexed for oopiee 
containing the artidea mentioned in the list will confer a faTOr 
if they will mention Thb Writbk idien they write.] 

Photography in Copsring. — Not long ago I 
had occasion to copy a number of pages of 

Guy db Maupassant. Count Leo N. Tolstoi. Arenm 
( 53 c ) for December.